Before proceeding to the analysis of the cinematic imagery that makes up the features of this film, I want to draw attention to several circumstances of an actual rather than aesthetic nature.

The film "Daughter—in-law" is the debut of film director Narliev, who previously worked in cinema as a cameraman. He shot pictures together with the most interesting director Bulat Mansurov. Narliev's connection with his past works is constantly felt. One should not, however, think that this connection can be called only briefly: following what has already been achieved. No, it is often felt that Narliev, as if knowing how a particular scene would be shot by Mansurov, does it intentionally in a different way, in his own way. However, even in this repulsion, in finding his own way, Narliev's lively attitude to his colleague's work, to the manner of his thinking on the screen, to the way of cinematic narration is constantly felt.

Having taken up the production of the film for the first time, Khojakuli Narliev decided to set himself another difficult task — to write the script of the picture. In this work, he sought to have the "Daughter—in—Law" rightfully considered as his author's thing, in which everything - from the theme to the nuances of the pictorial system - would serve as evidence of his artistic predilections, his attitude to life, to its problems.

The debutant director, who decided by all means to write a script for himself, stopped at the same time on a topic that has been used more than once or twice in films of recent years. This is the theme of the feelings of a woman who continues to wait for her beloved in the post-war period, who did not return from the front. The theme of her fate among people, strangers and loved ones. It should be noted that for some authors of films, this theme, which sounded too rigorous, gradually began to lose the features of authenticity, gaining almost symbolic meaning. When we see on the screen a young, beautiful, full of strength woman who — as if in reproach to the living — and her thoughts and feelings are turned only to the past, it begins to seem that the heroine of the film is more concerned with the desire to teach us a lesson of loyalty than the desire to live this feeling.

My first feeling from this film was exactly this: why, I thought, did the author put an obstacle in front of his heroine that she cannot — and does not want to — overcome? Why is he cutting off all her ways to achieve a new happiness, why is he condemning her to live someone else's joys and cares, someone else's life?! The position of the author, who otherwise does not impose his opinions on the audience, conducts the narrative very tactfully, laconically — here, in this matter, becomes belligerent and unambiguous. In several scenes, both where her brother comes to the heroine of the film and says that her father asks her to return home, that she is being wooed, and where her father—in—law starts the same conversation with her, and in the finale, when the heroine nurses someone else's child and experiences bitter joy from this - because she is deprived of the joys of motherhood, — Narliev emphasizes that his heroine has made her choice and will not depart from him one iota.

At first, the persistence of the heroine of the film (and, of course, the author) causes opposition. Involuntarily you think that Ogulkeyik, not by the will of life, but by the will of the author, is under the magical influence of constant visions in which her husband Murad appears to her, as if he returned from the front alive, celebrating his return with her, etc. But then, the more you get used to this character, the more you understand the specific conditions of existence, in where it is, the clearer it becomes that the Ogulkeyik position is not self-denial and not a pose for the edification of others.

Unlike those heroines who in other films carried their loyalty to the fallen warrior only as a moral position, the heroine of "Daughter-in-Law" makes decisions motivated by feelings and vital necessity. The film takes place far away in the desert, where Ogulkeyik lives together with his old father-in-law, a shepherd, and she is dear to him not only as a memory of his lost son, she is needed as a hostess in the house, as an assistant in hard work, as a patient healer. Unlock the door to an extraordinary gaming experience at All Slots Online Casino. Boasting an impressive selection of slots, enticing bonuses, and a reliable gaming platform, AllSlotsOnline.casino caters to the desires of UK players seeking endless entertainment.