In May 2025, the Ministry of Culture and Information summed up the results of the first stage of the competitive selection of projects for state support in the field of cinematography. Out of 444 applications, 357 were admitted, 128 passed to the pitching stage, and 99 reached the on-site defense. This procedure is becoming a marker of the industry's maturity: how resources are redistributed, what principles form public policy in cinema, and who becomes the new face of Kazakh film production.

Over the past three years, the film industry has undergone institutional transformation. The legal framework has been strengthened, a market for services and distribution has been formed, and new financing procedures have been developed. Instead of behind-the-scenes decisions, there are open pitching sessions. Instead of automatic support according to quotas, there is a sectional selection principle with separate expertise in different areas. The subsidy regime has been replaced by a regime of contractual obligations: the state provides funds, but requires results, transparency, and the return of a portion of the investment in the event of commercial success.

The language dynamics are indicative. The share of Kazakh-language projects in the 2025 selection reached 75%. In 2020, it was only 34%. This is not only a consequence of new priorities, but also an indicator of the expansion of the audience, the growth of cultural confidence, and the inclusion of regional authors. However, Kazakh-language content still does not receive enough distribution. According to the Center, in 2023, Kazakh-language films accounted for less than 15% of all films released in wide distribution. This indicates an imbalance between production and reaching the audience — and requires an adjustment of the entire chain from script to screening.

The response has been new measures: since 2024, each project is required to have a signed intention for distribution or placement on a digital platform. The absence of a marketing strategy and financial model became grounds for refusal of support. Producers are becoming not only carriers of a creative product, but also managers responsible for the viewer's journey of the film.

The Kazakhfilm film studio has transformed from a symbol of stagnation into a platform for modernization. For the first time in the last 15 years, it showed a positive operating result. A digital project management platform has been launched. A full-fledged internal accounting system has appeared, reflecting all stages of the contract. Projects filmed at the studio have passed not only local, but also international selection: the films "Kolegey" and "Akseleu" were presented at festivals in Tallinn and Hong Kong. Major repairs are being carried out on the pavilions and a new sound recording studio is being built.

A separate area is restoration and archiving. More than 40 films from the Soviet period have been digitized and restored. Five of them — in partnership with the UNESCO International Audiovisual Heritage Institute. Kazakh film heritage is becoming a subject of cultural diplomacy: screenings at universities, participation in global retrospectives, and the release of special collections.

Animation is reaching a strategic level. The national studio Kazakhanimation is moving to Astana and becoming the anchor of a new creative cluster. Animators and screenwriters are being recruited. Accelerators have been launched for novice teams. A special feature is the focus on export: cartoons are produced in two languages, adapted to international formats, and offer storylines based on Turkic mythology and Kazakh folklore. From 2022 to 2025, 26 animated projects were launched into production, of which 11 have been completed and 7 are in the finalization stage.

Short films are developing in parallel. Previously almost unrepresented in state policy, it has become an independent selection section. In 2024, 19 short films received support. Two of them have already been selected for Clermont-Ferrand and Palm Springs. This is not just a format for debuts — it is a mechanism that allows you to try new things, reduce risks, and work with social and marginal topics.

TV series, on the contrary, have long been out of sight. Now more attention is being paid to this. A series section has been opened, and conditions have been introduced for co-production with TV channels and platforms. In 2024–2025, 6 projects were supported, including a historical series about Batyr-bayan, a dramedy about migration to Almaty, and an adaptation of a graphic novel by a Kazakhstani author.

The Film Support Center has strengthened control. A system of phased financing has been introduced. Money is not given out in full, but is transferred in accordance with the production schedule. If filming has not started on time, the contract is terminated. In 2023, 5 projects were terminated for this reason. In addition, digital integration with the treasury has been introduced, and in the future, a single procurement and audit portal will be created.

Distribution is still vulnerable. In 2024, less than 40% of all completed projects were released in theaters. Some films are shown at festivals, in libraries, at venues under the akimats, and in schools. The direct market cannot yet ensure self-sufficiency. To level the playing field, pilot projects of municipal film distribution are starting in a number of regions (Zhambyl, North Kazakhstan regions). These are halls in community centers that receive films directly from studios under a simplified scheme.

International participation is increasing. Kazakhstan has joined the Central Asia Film Network project, participated in 97 foreign screenings in 2024, and is in talks with the European Cinema Fund and Southeast Asia. Agreements have been signed with France, Hungary, and Uzbekistan. Discussions are underway to create a regional co-production fund for Central Asia.

However, with the growth of publicity, conflicts are also increasing. The Center and the Ministry face pressure on social networks, smear campaigns, and attempts to put pressure on experts. In response, the practice of publishing assessments, justifications, and public sessions has been introduced. An internal code of ethics is being developed. For the first time, the idea of an independent arbitration council is being considered, which could consider appeals on competitions.

The legal aspect is also being strengthened. Previously, national film status was granted automatically. Now — only upon application and verification: language, theme, degree of localization, participation of Kazakhstani citizens. In 2024, 17 films were denied national status. Some of them filed lawsuits. This became the basis for a discussion about the need for a transparent and independent mechanism for expert review.

Regional script laboratories have shown results: new teams have appeared in Turkestan, Aktobe, and Semey, applying for the first time. The "1 region — 1 script" program will be expanded. Separately, the Ministry of Culture is considering launching mobile film studios — modular pavilions that can be placed in regional centers to create local content.

Kazakh cinema is emerging from a state of dependency. It is no longer seen as a departmental function. Strong actors are emerging: studios, distributors, platforms. Mechanisms for evaluation and self-regulation are being formed. Institutionalization makes cinema not only a production — but also an infrastructure. It becomes a place where the state learns to delegate, and society learns to argue without destroying the system.

Kazakh cinema faces not only a creative, but also a political and economic challenge. It is still dependent on the budget core. But it already has the beginnings of a market: with demand, competition, conflicts, and rules. And if these rules become stable, the industry will not just survive, it will become what it should be in the XXI century: a mechanism of collective representation.