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.

A young doctor serving cotton growers goes to the city. On the highway, when trying to overtake a motorcade, the traffic police stops the car. The events that take place next are an accurate and witty model of a life permeated through and through with absurd relationships, ridiculous demands and inexplicable prohibitions...

The story is about Hashim, who, as often happens with boys, gets into various troubles.

Farukh is accused of financial fraud with the loans of the bank where he works. He is being judged. To save her son, the mother sells a house and a car, covering the debts of the bank. Farukh is going free, but now he urgently needs to find money to save his house. He learns about the fatal illness of the daughter of the chairman of the bank and offers her to marry him and promises to "carry her in her arms" and make her happy. She agrees to a marriage of convenience ...

The film "Mr. Nobody" is about a young man named Jahongir, whose mother died when he was young. The mother leaves her son in the care of his older brother and leaves him a letter. In this letter, the mother instructs her son to listen to these people, see them as his parents, respect them, and do what they say...

Feride grew up in the "Mehribonlik Uyy". She falls in love with a young man named Farhad. However, the young man's father opposes their relationship. Feride, who entered university, meets Farhad there too. Their relationship deepens. There, Feride becomes friends with a fellow student named Nargiz, who is the daughter of a wealthy family. However, Nargiz also falls in love with Farhad. As a result, a love triangle arises. However, Farhad's heart was with Feride. Feride, on the other hand, was not worthy of Farhad's family. What will her fate be now? Can Farhad fight for his love? What about Nargiz? Can the girl who has achieved everything in life and learned to give up her feelings for Farhad?

Credulous woman is hooked by religious extremists and leaves her family to become a terrorist.

"Temir Xotin" (The Iron Woman) is a legendary Uzbek sci-fi comedy released in 1990, based on the play by Sharof Boshbekov. The story centers on Qo'chqor, a witty but irresponsible tractor driver struggling with alcoholism and a failing marriage. His life takes a futuristic turn when his nephew, a brilliant inventor, creates "Alomat," a highly advanced female robot designed to handle all domestic and farm labor flawlessly. While the robot's efficiency initially brings order to Qo'chqor’s life, the film evolves into a poignant social satire, illustrating that no machine—no matter how perfect—can replace the genuine warmth, complexity, and soul of a human relationship. A true masterpiece of Uzbek cinema that blends sharp humor with deep philosophical questions.