- October 6, 2026
All images courtesy of the subjects
A stolen dagger drives the action in Kanjar, a Kyrgyz thriller that explores the loss of cultural heritage. Director and screenwriter Adilet Akmatov draws on his experience as a stunt performer and fight choreographer to bring the story to the screen.
Co-producer and actor Mohamed Hamad Haymour took a different route into the project. Born in Canada to Lebanese parents, he moved to Kyrgyzstan with his wife intending to open a restaurant. A meeting with Akmatov led him into filmmaking and his first feature-film role, playing a villain.
Following a preview screening, Akmatov and Haymour spoke to Shahsanem Murray about the film and their work together.
TCA:Adilet, what drew you to make this film?
Adilet Akmatov:Now a director and screenwriter, I have hands-on experience as a stunt performer, choreographing fight scenes, operating cameras, and editing. For me, a movie never starts with a genre; it starts with a story and an emotion. I love genre cinema, but a human theme should always remain at the core of the action, adventure, or thriller. This film is exactly that kind of film. It is an action thriller, but it also addresses memory, responsibility, and human choice.
TCA:What inspired your screenplay?
Adilet Akmatov:First and foremost, I was intrigued by the concept of a historical artifact. More than a mere object, it represents a fragment of a nation’s heritage. At one point in the script, one of my characters says: “This dagger has outlasted dynasties, wars, and migrations, absorbing the memory of several generations.” I was fascinated to see how I could develop a story that would prompt audiences to question the significance of such ancient objects in their understanding of the world and their place in it.
In the plot, a dagger is stolen and, against all odds, must be retrieved. But beneath the surface, I wanted to explore what happens to people and, indeed, society at large, when memory is treated as a commodity to be bought and sold. That is the root of the conflict that runs through the film.
TCA:How did you approach working with the cast?
Adilet Akmatov:On my set, there is no division between stars and lesser-known actors.
There is only a shared objective. Trust is paramount, especially in an action movie. Action is not just about thrilling movements; it requires precision, discipline, and a deep understanding of your partner. If one person slips up for even a second, it can directly impact someone else. Therefore, I always try to find common ground with the actors first, to understand their personalities and capabilities, and only then do I choreograph the scene. It is imperative that when an actor executes a staged movement, they truly understand why their character is doing it. Each of the male characters in the film is an individual in his own right. I did not want to create a generic mass of ‘bad guys’. Each has his own perspective on the situation and his own limit of how far he is willing to go.
TCA:The film is set in Kyrgyzstan. Does its concern with protecting historical artifacts extend beyond the country?
Adilet Akmatov:Yes, but it goes further than that. It is not just about saving a specific artifact. The dagger in the film serves more as a symbol. Losing an object is unfortunate. However, it is far more terrifying when we lose our understanding of why that object matters to us. There is a conversation in the script between Kanat and the Foreigner that focuses on this issue. The Foreigner points out that such things outlive generations, yet people can treat them as insignificant. Hence, the problem is universal. It does not apply to Kyrgyzstan alone. Any nation can lose a part of its history if it stops valuing it.
TCA:How does the film reflect your understanding of patriotism and integrity?
Adilet Akmatov:I specifically did not want to make a film where patriotism is expressed only through words. To me, patriotism is not about constantly saying, “I love my country.” Sometimes, patriotism is simply about not turning a blind eye to what has been entrusted to you. It means not stealing. Not selling what does not belong to you. Not betraying another person. Not staying silent when you see injustice happening. And most importantly, it is a personal choice. There is a phrase in the script spoken by Kunduz’s father: ‘Justice is not always convenient, but if you choose the truth, you must see it through to the end, even if you are left standing alone.’ That is probably closest to my understanding of integrity. Because being a decent person is easy when it costs you nothing. The real choice begins when you have to pay a price for it.
TCA:What would you like audiences to take away from the film?
Adilet Akmatov:I prefer not to hand the viewer a ready-made answer. I believe cinema is much more engaging when someone continues to think about the story after they’ve left the theater. For me personally, it would be this: Do not let others decide what you should value. And do not sell your memory, conscience, and dignity for temporary gain. I do not want to turn the movie into a lecture. First and foremost, it is an action film, a thriller, an adventure story. The audience should root for the characters, follow the chases, the conflicts, and the danger. And later, if they wish, they can discover the deeper layer.
TCA:How did you develop Kunduz’s character?
Adilet Akmatov:To me, Kunduz is not a character whom I deliberately made strong just because she is a woman. She is simply a human being who, finding herself in an extreme situation, is forced to act. It was vital for me to portray her not as a superhero. She experiences fear, she has emotions, and she has loved ones. But when the moment of choice arrives, she takes action. Her strength manifests itself not only in fights.
Therefore, I wouldn’t frame it as “a woman can defeat a man too.” To me, the underlying idea is different: A person is capable of fighting and taking responsibility for their own life, regardless of whether they are a man or a woman. Kunduz just happened to be a person who, at a critical moment, refused to let circumstances dictate her fate. I wanted to create a living, breathing human being who proved to be stronger than her circumstances.
TCA:Mohamed, could you tell us about yourself and what brought you to Kyrgyzstan?
Mohamed Hamad Haymour:I was born and raised in Canada to Lebanese parents. My parents worked in hospitality. Our family owned and operated several Lebanese restaurants. Food has always been a big part of my life. Today, my brothers, sisters, and I still have a Lebanese restaurant in Edmonton, Alberta. My journey to Kyrgyzstan actually began through a friend of mine in Canada who is originally from Kyrgyzstan. He would often tell me about his country, the people, the culture, and the opportunities there, particularly the possibility of opening a Lebanese restaurant in Bishkek. After hearing about Kyrgyzstan for almost two years, my wife and I eventually decided it was time to try something completely different. We decided to make the move to Kyrgyzstan.
TCA:How did that lead to your involvement in film?
Mohamed Hamad Haymour:As I mentioned before, we originally came here with plans to open a restaurant, but those plans were temporarily put on hold after I met Adilet through our mutual friend Zarelbek, who is also a co-producer on the film. Zarelbek introduced us over dinner, and during our conversation, Adilet told me about a film he had been wanting to make. I was immediately intrigued by the story. It wasn’t just the storyline itself that caught my attention, but the deeper meaning behind it: the values, the philosophical message, and what the story was ultimately trying to say. Eventually, the three of us decided to come together and co-produce the film.
TCA:Was this your first feature film, and what was it like playing a villain?
Mohamed Hamad Haymour:I’d acted in small plays, but nothing even remotely close to this scale. From an early age, I participated in the Edmonton Heritage Festival in Canada, performing in plays representing and celebrating our Arab culture. This, however, was the first time I had ever acted in a feature film, and playing the villain was actually a superb experience. It was something completely different for me and a role I really enjoyed taking on. What made it even more meaningful was being part of a film that carries such a strong message about culture, family, pride, and honor.
TCA:What did you learn from spending time on set?
Mohamed Hamad Haymour:My wife Dina and I were on set most of the time and, because this was a new experience for us, we were excited to be part of it. Even on the days when I wasn’t acting, we hung around, taking advantage of the opportunity to watch Adilet at work. Watching how Adilet interacted with both the actors and the crew, and being able to see firsthand how much goes into directing a film and bringing a story from an idea to the screen, was a great learning experience. I am more than thankful for being invited on such an extraordinary journey.
