In Emetjan Memet's short fiction “Alikis” for which he also penned the script, it's all about one man's love for his canine friend. Shot in the Uyghur language in Xinjiang, “Alikis” is a shining example of the region's booming generation of young arthouse filmmakers.
“Alikis” screened at Osaka Asian Film Festival
When he returns home after a long work-related absence to celebrate his wedding anniversary, Nijat (Ekrem Ehmet) takes his wife (Merhaba Israyil) by surprise. Unsuspecting his earlier return, she had no time to uphold the illusion of taking good care of her husband's beloved dog Alikis. The canine is nowhere to be seen, and the more questions get asked about his whereabouts, the more clear it becomes that something's not right.
By letting the film start with the camera rolling low angle across the busy main street, passing by little stores and people sitting in the sun, Memet drops a hint about the setting of his film – in an urban, modern environment. It's a short but powerful encounter with one of Xinjiang's cities before the story continues in Nijat's house, in a historic villa protected by a high fence. His profession and his background will remain mysterious, and only one thing remains relevant for the actual story – finding Alikis.
The search will take him outside of the city, straight to his wife's family. The deliberately static interaction between people who communicate in emotionless dialogues has a strong impact on the overall aesthetics, and “Alikis”s dry humor has a taste of Aki Kaurismaki's films on pilaf and tea instead of vodka.
This oddball dramedy won't have much trouble finding its place in the festival circuit, and Emetjan Memet is the name to remember.
