Post-fall, or light at the end of the tunnel

As the economic indicators grew and the market socio-economic system became relatively mature, positive things began to happen in the Mongolian film industry. For example, as a result of privatization in the 1990s, cinemas either ceased to exist or changed dramatically. They were replaced by video screening spots and basement rentals. In 2003, Yalalt Cinema was renovated as Tengis Cinema and in 2009 opened the Urguu, Urguu 2, Hunnu, Gegeenten, and Imax cinemas. This can be explained by the fact that the film industry had collapsed and ecosystem disrupted, but the needs of audiences did not diminish. Another pillar of this revival is that Mongolian filmmakers have begun to learn from international film experience, how to raise funds at the international level, and how to create quality works of art. Examples include State of Dog – directed and written by Peter Brosens and D. Turmunkh, and filmed by cinematographer S. Byamba – and Weeping Camel, and The Cave of the Yellow Dog by director D.Byambasuren.

Although the statistics are incomplete, according to a survey conducted by local artists there are now more than 500 film studios in Mongolia. These released 22 films a year in 2013 and earned a total of MNT 2.6 billion in cinema revenue. Hollywood-inspired domestic ‘blockbuster’ commercial films are also emerging in the Mongolian film market, with “Wildflower house” earning MNT 731 million. According to the latest data, 38 movies were released in 2015, 49 in 2016, 32 in 2017, 37 in 2018, 31 in 2019, 17 in 2020, and 17 in 2021.

As the circle of non-commercial or home-based, relatively narrow ecosystems and independent moviegoers grows, alternative DIY structures and model-based alternative film environments are emerging. For example, the Golden Film NGO’s weekly classic and arthouse film screening Dreamer’s Day has been able to fill the gaps since 2009 and create its own audience. Another example of very successful audience building is the Ulaanbaatar and Golden Ger Film Festivals which have been organized annually since 2013 with the initiative and support of the Ministry of Culture, the Capital City Department of Culture and Arts, the Arts Council of Mongolia, and Mongolian Film Institute.  The short film competition 48 Hours is also an important part of Mongolia’s contemporary cinema scene.

In 2018, at the XXIV Asian Film Festival in Vesoul, France Bastian Meiresonne, the artistic director, programmer and Asian film expert of the Asian International Film Festival, selected a number of Mongolian films for presentation. These were Norjmaagiin Zam, New Year, Amin Mor, Hun Chuluuny Nulims, Buleen Nuram, Motoryn Duu, Serelt, Mongol Khuu, Passion, Argamjaa, and Solongin Tavan Onguu. In an interview Jean Mark, the festival’s director, said “I found great masterpieces in the focus of Mongolian cinema that were created by communist directors. It seems that the Russians brought cinema to Mongolia. However, Mongolian cinema has its own tradition and continues to do so today, and it has developed into a national cinema with a distinctive character, and it is still a great achievement.”

“Cuckoo”

Contemporary Mongolian cinema has produced a wide range of films including commercial, art house, documentary and television series. Examples include director J.Sengedorj’s films Lardma, Urgeeleg, Tsagaan Khadag, Bi Nar, Gergii, Khudaldag Ohin; international co-productions by director S.Byamba and producer Ts.Ariunaa (Remote control, Bedriddden); The Wheel documentary by writer and journalist L.Nomin; International co-production by director and actor G.Erdenebileg (Steed); the television series Tegri Chinu and Single Ladies 4 by U Film group and director L.Bat-Amgalan; the Victim series by actor B.Amarsaikhan and producer S.Uran; and Cuckoo by director J.Jamyansuren.

P.Lhagvadulam, one of the youngest filmmakers in the field of cinema, was officially selected for the Cannes Film Festival short film competition with his short film Mountain Cat. Director P.Zoljargal’s short film Stairs also won the nomination for Entry to the Best Short Film at the 94th Academy Awards. In addition, director M. Bishrel and actor M. Iveel, who work in the United States, have created In the Land of Lost Angels, and Beloved.  B.Uizenmaa, a director working in Germany, has produced Don’t Look at Me that Way, and Black Milk. Director D.Byambasuren, who created Altan Sudal, has also created well-received international joint works.