Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.
This bizarre surrealistic black comedy takes place in a small fictitious post-apocalyptic town where food is scarce and butcher Clapet has the macabre business of using human flesh to feed his customers.
Amidst her own personality crisis, southern housewife Evelyn Couch meets Ninny, an outgoing old woman who tells her the story of Idgie Threadgoode and Ruth Jamison, two young women who experienced hardships and love in Whistle Stop, Alabama in the 1920s.
Whilst on a short weekend getaway, Louise shoots a man who had tried to rape Thelma. Due to the incriminating circumstances, they make a run for it and thus a cross country chase ensues for the two fugitives.
After developing an addiction to the substance he uses to kill bugs, an exterminator accidentally murders his wife and becomes involved in a secret government plot being orchestrated by giant bugs in an Islamic port town in Africa.