Exploring the Haunting Legacy of Nuclear Testing in Kazakhstan: “We Live Here”
Director Zhanana Kurmasheva’s debut documentary, We Live Here (Atameken), paints a poignant portrait of three generations grappling with the enduring effects of nuclear testing in Kazakhstan. This gripping film, which poignantly opens at the CPH:DOX, the Copenhagen International Documentary Film Festival, illuminates the struggles for survival and hope in a world shadowed by past atrocities. The festival commenced in Denmark’s capital on Wednesday, running through March 30.
A Legacy of Contamination
Set against the stark backdrop of the Kazakh steppes, Kurmasheva’s narrative delves into a haunting reality where the echoes of the past resonate powerfully. The film chronicles the Semipalatinsk test site, where 456 nuclear tests were conducted between 1949 and 1991, leaving a persistent legacy of radioactive contamination. As the synopsis conveys, “one couple, convinced that their daughter’s illness stems from radiation, seeks proof” of a link between their suffering and the dark history of their homeland.
A Cinematic Reflection
Kurmasheva’s debut potentializes the steppe as a metaphor for existential dread and historical gravity. As highlighted by the CPH:DOX website, the documentary is described as “a chilling cinematic work,” where each meticulously curated image contributes to a broader understanding of the human condition.
Notably, We Live Here marks the first Kazakh film to be featured at the Copenhagen festival, competing alongside 12 other international entries in the Dox:Award category.
Personal Connections and Cultural Reflection
In her discussions with The Hollywood Reporter, Kurmasheva reflects on the prevalence of projects that tackle this sensitive issue in Kazakhstan: “Many films and TV series depict this topic because it’s part of our national wounds. Some locals are weary of revisiting it due to the lack of tangible results.” As she cites her personal connection—her mother’s roots in the region—she emphasizes that her intention extends beyond mere sorrow. “It’s about understanding what it signifies for us and what proactive measures we can take,” she asserts, lamenting a cultural tendency to suppress feelings and discussions.
Intense Self-Discovery in the Steppe
Upon arriving at the former test site, Kurmasheva felt an immediate emotional disconnect. “I’m Kazakh; I comprehend the essence of the steppe,” she reminisces. “However, this particular area felt distinctively altered.” This sense of isolation and uncertainty regarding radiation safety profoundly affected her perspective. “You stand amidst the steppe, enveloped in silence, with no visible horizon,” she recalls, questioning the indifference of her community in facing such a tragic legacy.
Interconnectedness of Humanity and Nature
Kurmasheva also draws attention to a more expansive narrative of human existence, contemplating humanity’s role in its own potential extinction. “While it may seem that humans could incite their own demise, the Earth possesses a resilience far beyond our own,” she reflects, urging viewers to recognize this crucial distinction.
Courtesy of Plan B
A Voice for Central Asia
Ramazanova, the film’s producer, views the film’s debut in Copenhagen as a pivotal moment for the documentary community in Kazakhstan. “In Central Asia, documentaries are often relegated to television, lacking serious reconsideration as creative works. Our presence here provides a significant boost for our industry,” she states.
She further adds, “We have received numerous congratulatory messages from individuals in Kazakhstan and Kurdistan. This exposure can redirect attention to Central Asia and the insights gained from CPH:DOX will undoubtedly enhance our local filmmaking community’s capabilities.”
Sales agent Syndicado is poised to market the film globally, affirming Ramazanova’s observation that garnering international recognition is crucial for a domestic impact. “To create change, achieving validation from critics and experts abroad is often essential,” she concludes.
Upcoming Projects and Future Directions
Looking beyond We Live Here, Kurmasheva and Ramazanova are already strategizing their next documentary project, which will explore ecological themes. “Our second feature is currently in early development, focusing on mass consumerism,” Ramazanova reveals, elaborating on the narrative of a T-shirt’s journey from Central Asia to one of the world’s largest clothing landfills in Chile. “It’s an exploration of consciousness regarding our consumption patterns,” she explains.
A Timely Conversation
This documentary resonates with ongoing discussions in post-Soviet countries, where nuclear disarmament remains a contentious issue. Kurmasheva aptly observes, “It feels like history is on repeat; humanity is caught in a cycle, perpetually returning to conflict instead of finding peaceful dialogues.”
Courtesy of Plan B
A Sacred Connection to Home
The film’s title, Atameken, meaning “My Sacred Land,”encapsulates the profound connections locals maintain with their birthplace despite its radioactive history. Kurmasheva emphasizes, “For the locals, this land is intertwined with their identity, independence, and the memories of their ancestors.” She poignantly affirms, “Though it may be a small place, it represents home. Ultimately, we share this one Earth, the only home we have.”