goEast 2025: The Song Sustxotin | Interview with Khusnora Ruzmatova

Some films don’t need loud words or elaborate explanations. They speak quietly—but powerfully. The Song Sustxotin, the new feature film by Uzbek director Khusnora Rozmatova, is one of those successful works.  

The strength of Rozmatova’s film didn’t go unnoticed at goEast 2025: The Song Sustxotin was recognized twice at this year’s festival—with a Special Mention from the jury and a spot in the official 3sat Broadcast Selection. 

The story takes place in an isolated Uzbek village, where the land is dry and so are the voices of those afraid to speak. It’s a place where drought and silence go hand in hand, where old  traditions often silence inconvenient truths, and where truth comes at a high price. The protagonist of the film Ahbor, a former official, faces a brutal truth that the village would rather forget: the honor of a young girl, who only recently turned 16, was abused. But instead of restoring justice, she is isolated from society, and the one who tried to stand up for her is  ruthlessly imprisoned. 

Khusnora Rozmatova speaks openly about how her film came to life—the challenges she faced during its creation and why bringing this story to the screen was so important to her.

Polina Grechanikova: Tell us a little about yourself. What brought you into the world of cinema? And how did  your journey lead from theater and television to directing your own films? 

Khusnora Ruzmatova: I’ve been involved in the arts from the very beginning. I studied screenwriting at a university in Uzbekistan and later trained in directing under Yusuf Roziqov. I worked as a stage actress  and also directed theater productions. Eventually, I moved into film and television, working as a director for Uzbek TV and the National Television and Radio Company of Uzbekistan. I’ve directed three feature films and two television series. 

My most recent work is The Song Sustxotin. It was completed in 2024, but due to internal censorship, it wasn’t shown publicly for a long time. The first screening took place behind closed doors in Bishkek. Now, the film is beginning to receive international recognition—it’s been invited to festivals in Marrakech, Greece, Goa, and of course, goEast. Its official premiere was at the International Film Festival of Goa. 

Polina Grechanikova: Your film The Song Sustxotin captures the atmosphere of an Uzbek village plagued by drought and despair. What was the filming process like? What challenges did you face? 

Khusnora Ruzmatova: Filming was incredibly difficult. We shot in a real mountain village, far from the city. The heat was intense, and we had barely any budget. The equipment was old, and most of the work was done by hand, with a small, dedicated team. The script and project received official approval from Uzbektelefilm, which provided a certain amount of state funding. However, during the production process, I made a number of creative changes to the already approved script in order to better reflect the evolving vision of the film.

It was stressful, even frightening at times. But at the same time, I had a strong feeling that this film had to be made—that it mattered. 

Polina Grechanikova: Throughout the film, you use shots from inside a car, looking out through the window—as if we’re secretly watching the village from a distance, hesitant to intervene. Why was it important for you to shoot the film this way? What does it add to the story? 

Khusnora Ruzmatova: That perspective—it’s a gaze. The camera becomes the eyes of a quiet observer. We watch everything unfold from the side, as if we’re unable, or perhaps unwilling, to interfere. Filming through a window, through glass, creates a kind of invisible barrier—a boundary of fear, of uncertainty, of silence. 

I wanted the audience to feel that emotional and social distance. We are close, but not quite inside—separated by silence, by fear, by societal walls. In some scenes, like when the mullah gives his sermon, the camera mimics the subjective viewpoint of a character. I used this visual language to convey the internal states of the people—their isolation, their internalized restraint. It’s about seeing without acting, about bearing witness. 

Polina Grechanikova: Your film touches on some very painful and important themes for Uzbek society—shame, violence, silence. Do you believe it can reach an audience at home? Is there hope for an open conversation around it in Uzbekistan? 

Khusnora Ruzmatova: I truly hope so. But honestly—it’s not easy. In Uzbekistan, people tend to watch serials or short clips on Instagram. Cinema, especially independent or art-house films, doesn’t have a  strong place anymore. Theatres have lost their power as platforms for dialogue. 

In Tashkent, we only had one private screening for filmmakers, and another organized together with UNICEF. After the second screening, we had a discussion that lasted nearly two hours—about women, about poverty, about religion, about fear. It was powerful and emotional. But so far, the film hasn’t been shown to the public. 

I really dream of it being seen by people in my country—not just regular viewers, but also decision-makers. I made this film for my people—for the women whose voices are still unheard. 

Polina Grechanikova: You raise the topic of shame and silence—how much does this culture still shape the lives of women in Central Asia? And can cinema play a role in breaking it? 

Khusnora Ruzmatova: It’s still a deep and painful issue—especially in rural areas, where tradition is everything. Women are taught from childhood not to speak up. They’re taught that preserving family  honor is more important than their own well-being. And that creates tragedy. 

I know women who have endured terrible things but never dared to speak. Because in our society, it’s often the victim who is blamed—not the abuser. I believe art is one of the few  spaces where we can start to change this.

Cinema gives us a voice. It’s not a cure-all. But it’s a beginning. A necessary one. The first step toward change is to break the silence. 

Polina Grechanikova: You also mentioned technical challenges during the shoot. What were the main  obstacles? 

Khusnora Ruzmatova: Sound was our biggest challenge. We didn’t have a lot of budget for a professional sound designer, and our equipment was outdated. Unfortunately, there are no proper sound studios  in Uzbekistan—and professional post-production is expensive. 

So later, I had to do the dubbing elsewhere, in a different city. That wasn’t easy—especially when you’re trying to preserve the emotional authenticity of the performances. The breath, the pauses, the rawness—you don’t want to lose that. But somehow, despite everything, we made it work. And I’m proud of that. 

Polina Grechanikova: What’s next for you? Are you working on something new? 

Khusnora Ruzmatova: Yes, next month I’m starting work on a new short film—self-funded. It’s a story about a woman from Uzbekistan and a Russian man, set during the war in Ukraine. A very intimate and complex story. 

I also dream of studying in London. Right now, I’m working hard to improve my English. And someday, I hope to become a student of Mohsen Makhmalbaf—the great Iranian director. I’ve been reading Persian poetry since I was a child. Farsi feels like part of my soul. Learning from him would be a dream come true.

The 25th edition of goEast – Festival of Central and Eastern European Film ran on April 23-29, 2025.