For the first time in its history, a Kazakh documentary has premiered at the Berlinale’s Forum section — one of the world’s most influential film festivals. ‘River Dreams’, the debut feature by director Kristina Mikhailova, gives voice to women imagining life beyond male dominance.
It was a celebratory day for the ‘River Dreams’ team, who seemed to enjoy every moment of their historic premiere. The first Kazakh documentary to screen at the Berlinale drew strong interest, with the screening sold out.
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The audience reacted emotionally — at times laughing, at times visibly moved. Several of the film’s protagonists travelled to Berlin for the premiere, joining director Kristina Mikhailova to mark her feature debut.
The screening was followed by a Q&A session, though not everyone in the packed theatre had the chance to ask their questions or share their impressions.
Where the river begins
There is a river in Kazakhstan called Aksay. It begins in the glaciers of the Zailiyskiy Alatau mountains near Almaty and flows down to the Kapchagai reservoir.
Along its energetic waters, Mikhailova and her crew meet girls and young women who are asked to imagine themselves as a river.
Along this route, city dwellers, LGBT and gender-positivity activists, a headmistress, women in prison and students dreaming of emigration speak about their fears, desires and imagined futures.
What began as a poetic exploration of female voices through the metaphor of a river gradually evolved into a political portrait shaped by the violence and structural inequality many of these women have experienced.
With what the director describes as “radical tenderness,” the film invites viewers into a shared emotional landscape where the movement of water mirrors the instability many women face in Kazakhstan today.
For Mikhailova the Berlinale premiere is both exciting and validating.
“A debut film is always a statement of who you are as an author,” says Mikhailova. “After premiering at a major festival, the level of trust in you grows.”
‘River Dreams’ was selected for the Berlinale’s Forum Special — a section that runs alongside the main programme and is dedicated to formally bold and politically engaged cinema.
This year’s Forum Special carries the motto “Be Human Only, Dish Out the Truth,” a curatorial focus that resonates strongly with the film’s uncompromising tone.
For the film’s producer, Dana Sabitova, the selection carries symbolic weight. “Through their choices, the selectors make a statement about what they want the festival to stand for,” she says. “The fact that they chose a documentary from Kazakhstan means that our voices matter to them.”
From call to screen
Five years ago, an unusual call circulated online among girls and young women under the age of 30 living along the Aksay riverbank: “Come and give us an interview if you feel like a river.”
Nearly 100 young women responded. Twenty-five participated in in-depth interviews lasting up to three hours. Ultimately, 15 became the protagonists of the film.
Filming took place in two stages, in 2022 and 2024. Between these production periods, Kazakhstan was shaken by the killing of 31-year-old Saltanat Nukenova by her husband, former economy minister Kuandyk Bishimbayev — a case that sparked nationwide debate about domestic violence and women’s rights.
Many of the film’s participants described the event as a painful confirmation of the vulnerabilities women face in the country.
After witnessing such openness and vulnerability from her protagonists, Mikhailova says she felt compelled to place herself in the same position of exposure. She decided to appear in the film and give an interview herself.
“If I was asking them to share something deeply personal and trust me, I had to go through the same experience myself. I needed to step in front of the camera. Only then did it feel honest,” she says.
A fragile road to Berlin
The journey to Berlin was far from straightforward. When Mikhailova first learned about the selection, the film had not yet completed post-production. Due to limited funding, the team submitted a picture lock to the festival selectors while still searching for resources to finalise the film.
Their strategy was clear: selection by a major festival could help unlock finishing funds. The gamble paid off. Following the announcement, the team secured last-minute investment to complete post-production.
Yet financial challenges continued. As an independent production, ‘River Dreams’ had no institutional backing. Together with producer Dana Sabitova, Mikhailova sought support to cover travel and promotional expenses for the Berlinale premiere.
According to the director, Kazakhstan’s Ministry of Culture declined to provide funding, reportedly stating that the film was not part of the main competition.
For Mikhailova, the situation reflects a broader reality faced by independent filmmakers in the country. Without consistent institutional support structures, many are forced to rely on personal networks and piecemeal financing.
In the case of ‘River Dreams’, financial support from Switzerland and the United Kingdom was limited due to the absence of formal co-production frameworks involving Kazakhstan.
Much of the production was sustained by the director’s and producer’s own resources, including years of unpaid labour.
Despite the obstacles, Mikhailova views the journey as proof that persistence matters. “Our example shows that if you truly believe in a project, it is possible,” she says. “It’s a form of inspiration and empowerment.”
Beyond Berlin
The team is expected to announce participation in two additional international festivals in the coming months. Yet for Mikhailova, the most meaningful milestone would be a premiere at home.
She says she would be especially honoured to screen ‘River Dreams’ at the Qyzqaras Festival, which celebrates films made by women.
Beyond the festival circuit, the director hopes for a theatrical release in Kazakhstan — a rare opportunity for documentary cinema in the country, where non-fiction films seldom reach the big screen.
“The most important step for us now is distribution in Kazakhstan,” she says. “This film is meant first and foremost to inspire Kazakh women, not only activists or people from the urban bubble, but every woman.”
