Spoiler Alert
Although the initial moments of the movie Stinker (originally titled Sasyq) introduce a vino, Sadyk Ospanovich (Dulyga Akmolda), absolutely hammered and laid out in a field, this setup is perfect. When he walks out onto the highway, the abrupt ending may well shock. That’s because of the fake credit sequence. But the story does not end there. Maybe what that’s supposed to mean is that he’s imagining the rest of the film. Until I get to interview writer and director Yerden Telemissov, I won’t know.
What follows is a quietly powerful story of loneliness and acceptance. In his small Kazakh village, Sadyk is a harmless drifter. After the death of his wife, he’s without purpose. He’s given up on life, and locals are used to his presence. But lateone night, everything changes. He witnesses a UFO making erratic moves and it soon crashes! Although the wreckage and mention of gets swept under the rug and nobody wants to talk, this individual finds meaning by taking care of the alien (Chingiz Kapin).
Their bond is rather unusual. Both yearning for a connection. I doubt this relationship is like the one in E.T. The Extraterrestrial. Instead, I see this presentation as a tale about bridging worlds together.
Unlike the emotional fantasy of Spielberg’s film, Stinker is more grounded, even meditative. While the alien misses his home, Sadyk continues to remove himself from society. Their conversations—especially the ones where they reflect on the past—are quietly poignant. The alien’s preference for hiding in an outhouse, and his oddly fecal appearance, may seem like a crude joke (and yes, there’s a Uranus pun waiting to be made), but it’s also a clever metaphor: both beings are dismissed, ignored, and yet still deserve empathy.
Although Nadya (Irka Abdulmanova) won’t admit it, this gruff shopkeeper is the only person looking out for Sadyk. Her granddaughter (Ailin Sultangazina) doesn’t have much of a role at first—she’s always playing a video game on her tablet and listening to music—but her later involvement with the other stinky individual adds an unexpected emotional layer. There’s an innocence not lost, and that makes her like Gertie in Spielberg’s version. Her awareness shows why we don’t need to be afraid of outsiders, since Stinker does not scare her.
The film’s antagonist, Baur (Zangar Akhmet-Qzay), a highway patrol officer, initially appears as an enforcer of authority. His mission is to ensure nothing disrupts a presidential motorcade. Yet he, too, is more complex than he seems. His eventual moral tension and uncertain loyalties keep the story grounded in real-world dilemmas about power and obedience.
Set against the bleak beauty of rural Kazakhstan, Telemissov crafts a film that feels both specific and universal. Its themes—loneliness, environmental fragility, the fear of the unknown—resonate globally. And despite a modest budget, the film’s practical effects, atmospheric lighting, and convincing performances create a fully immersive experience. The filmmakers handled night scenes with remarkable care, using glowing props and clever staging to avoid the visual muddiness common in low-budget sci-fi.
When this film isn’t intentionally trying to be funny, what emerges as chuckle-worthy is simply that. I much prefer this kind of natural comedy over more obvious gags—but I’ll take both, depending on who the star is.
And with the additional messages layered in, nothing feels out of place. I feel it’s significant to show that the idiom “we are not alone in the cosmos” can mean more than one thing. When Stinker suggests how we should care for our world—and avoid messing it up—that’s a message worth hearing. As this film continues playing at festivals worldwide, let’s hope everyone gets that.
4 Stars out of 5
Stinker Movie Trailer
Discover more from Otaku no Culture
Subscribe to get the latest posts sent to your email.
