Summary
Set against the seismic shifts of early Soviet hegemony in Central Asia, Dmitri Bassalygo’s 'Musulmanka' serves as a poignant, albeit lost, cinematic artifact documenting the friction between millenarian traditions and the encroaching secular modernity. The narrative centers on Sagadat, a young woman whose agency is systematically stifled by a patriarchal hierarchy intent on bartering her future to Ahmet-bay, a wealthy septuagenarian whose status is measured in both coin and tradition. When Sagadat’s burgeoning self-awareness sparks a refusal to become a domestic acquisition, her father resorts to a claustrophobic incarceration within a household closet—a visceral metaphor for the broader systemic confinement of women in the region. Her liberation, facilitated by her lover Umar, acts as a bridge between the feudal past and a Bolshevik future, culminating in a radical exodus to Moscow. This transition from the domestic 'ichkari' to the academic halls of the Soviet capital signifies a totalizing metamorphosis of identity, where the protagonist sheds the veil of tradition for the mantle of the 'New Woman.'
Synopsis
About the awakening of self-awareness in a Muslim woman. The first years of Soviet power in Central Asia. They want to give the Sagadat girl to the rich old man Ahmet-bay. For resistance, her father locks her in a closet. Umar, the girl's lover, helps her escape. In the final, Sagadat goes to study in Moscow. The film has not been preserved.
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