Set against the stunning backdrop of Kyrgyzstan’s vast plains, Janyl Jusupjan’s ironically titled feature doc follows the enterprising and warm-hearted Atirkül as she attempts to carve a place for herself in the intensely masculine traditional team sport of buzkashi, in which horse-riders battle to steal the trophy – in the form of a dead goat – from the rival team of riders, all the time on horseback.
But Atirkül is not attempting to participate in the sport, rather her ambition is to build her own buzkashi team of local young men to preserve the heritage of her native region. Indeed we never actually see her on horse-back. Instead it is her love for the cut and thrust of trading horses and training the team that drives the eponymous and charismatic protagonist.
Jusupjan’s film is engagingly observational and never strives for overt drama. Instead the director is happy to get to know Atirkül as she gets to grips with this tough, masculine world. She has no doubts as to her abilities, nor that she deserves to be there, and while the “real men” of the title are all talented riders in a male-only sport the film never indicates blatant opposition to her, although some men simply choose not to respond to her requests.
There is also an ethnographic perspective to the film, with the camera immersed in the tough and traditional life played out on the plains of Kyrgyzstan. But this is secondary, as Atirkül is very much front and centre, always with a smile and an encouraging comment as she sets out to fulfil her dream of creating a winning team.
The film opens rather ominously with drums on the soundtrack as five riders head through the snow to join a larger group, before quickly cutting to springtime as bareback riders practise swooping down to pick up the goat. Atirkül relishes being around horses – “what a joy to watch him drinking” she says as she watches one horse – before explaining how she learned about horse trading. “I steal from the brains of men,” she says, and smiles as she talks about the deals she has done.
Her plan is to start first in her childhood village Jaylgan in the Jerge-Tal region of Tajikistan, but is disappointed from the start. She had expected to be loaned horses, but received no help, hearing that it is “not what real men do.” The film follows her as she and her would-be riders watch a sprawling buzkashi game from distance (cue drone shots) and much whipping of horses as riders try and find space to reach the carcass of a dead white goat.
Back at home she hassles one of her sons to get married to a local girl (she is “too small” he comments) while also commenting that they need bigger horses to properly compete. Atirkül talks about how she started as an importer and seller Chinese goods, before becoming a horse trader. She wants to sponsor the team – which the young riders suggest be called ”The Future of Youth”, though she reckons they should think of different names – but her plans are suspended as some of the riders take time out to work on tough, menial jobs in Russia in order to raise money.
The film presents moments of genuine charm, and Atirkül is a great character to spend time with. There are also moments of humour as well, especially when her garden swing chair collapses and she finds herself entangled with the frame. She happily laughs at herself, calls for help an adds how she is “not lucky today”.
In essence the film is about striving to overcome gender roles. As Atirkül says: “They say it’s not for women! This makes me feel insecure. I don’t see it as an obstacle…I don’t care, I just follow my heart.”
France-Czech Republic-Kyrgyzstan, 2023, 65mins
Dir: Janyl Jusupjan
Production: Cinedoc Films, Cinepoint, Chagaldak Production
Producers: Christian Lelong, Alice Tabery, Janyl Chytyrbaeva
Cinematography: Christian Lelong, Janyl Chytyrbaeva
Editor: François Sculier
Music: Atai Kai
With: Atirkül Arzyldabekova, Arzyldabekova Abish, Arzyldabekova Samat, Bayaman Salimbek uulu
