Jessica Kiang Under a lowering sky, in front of a makeshift movie screen hastily erected on a Kazakh hillside, a loose-limbed, unkempt young man performs a shambolically graceful version of Gene Kelly’s “Singin’ in the Rain” for an audience of one rapt viewer.
This scene is Adhilkan Yerzhanov’s “Yellow Cat” in miniature: a film that apes its influences with such infectious, idiosyncratic enthusiasm that it ends up entirely its own, lovely little thing.
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