“Its raw ambition and the unfiltered sense of entertainment should be enough for those with an appreciation for the more absurd or unconventional.”

As a form of artistic expression, film exists in dialogue with itself – it is almost impossible to find a wholly original work, since most films tend to be cobbled together as a series of influences and ideas plucked from numerous sources. Some filmmakers make their inspiration more obvious than others, and have even built their careers out of pastiche and homages. Adilkhan Yerzhanov has proven to be a filmmaker who shows very little hesitation when it comes to referencing the works that inspired him, as evidenced by Steppenwolf, his most recent offering. An oddly prolific wunderkind who is single-handedly striving to put his native Kazakhstan on the map when it comes to cinema, Yerzhanov has spent roughly the last decade experimenting with form and content, crafting over a dozen fascinating films, each one bespoke and daring. Steppenwolf continues his trend of attempting to do something different with each new project, as this film, which is best described as akin to Mad Max: Fury Road had it been made by late-period Clint Eastwood, being the very definition of a wild ride. Set in a dystopian wasteland, the film follows the unlikely pairing of a mother who has lost her son, and a criminal who is desperate to reform his reputation by any means necessary. Together, they voyage through a country in the middle of a civil war, intent on finding the kidnapped child, and encountering an abundance of violence along the way. Harsh but brilliant, the film is extraordinarily entertaining and deeply moving, a combination we may not have anticipated at first, but which proves to be the driving force behind the story.

Yerzhanov is the very definition of a rambunctious young filmmaker who is driven by the desire to make every project feel like a unique event. This continues with Steppenwolf, which sees the director crafting a film that leaps in numerous different directions, to the point where it is impossible to predict its next step. This kind of genre-bending, narrative ambiguity is served well with this film, since it conveys his skilfulness at dynamic, complex filmmaking that doesn’t follow conventions, but rather forms itself from small fragments that have influenced the director. In this specific instance, he is inspired by westerns and action films, particularly those that veer towards being more violent. On the surface, it seems like Yerzhanov is yet another director who utilizes violence as a tool to grab the audience’s attention, when in reality he understands that there is some genuine artistic resonance in explicit content, granted it is done tactfully. Steppenwolf is quite a violent film, but it is one that is stylish and bold, showing restraint where it is necessary and refusing to cross any moral boundaries while still remaining creative. The unforgettable images, captured in vivid detail, coupled with the pulsating electronic music, create a unique atmosphere that is equally enthralling and terrifying, the exact combination that the director seemed to be aspiring to. The story itself is captivating (dismissing the myth that action films are plotless, or that the narratives are forced to take a backseat to the gory spectacle), and it is only complemented by the genuinely impressive style that went into the creation of the film, which has the scope and complexity of a mainstream action thriller, but likely made with a fraction of the cost, proving the value of a good story that is told well.

However, beneath the striking surface, we find that Steppenwolf is a much more complex film than we may have initially anticipated. While it is designed along the lines of adrenaline-fueled action films, this is much more than just a simple rescue-and-revenge drama, instead functioning as something much deeper. There are a number of themes that Yerzhanov scatters throughout the film – faith plays a major role in how the characters see the conflict that surrounds them, particularly in the sometimes-foolish hope that comes from blind faith. Additionally, having a film set during a civil war (the cause of which is not made clear to us, and we only witness a small fraction of the larger conflict), and the effort it takes to survive in such conditions. These are common themes that can be found in many similar films, but we discover that the director’s method of introducing these ideas is much more intriguing. Much like his fondness for reworking genre to fit his artistic curiosities, Yerzhanov manipulates tone to create a distinctly offbeat atmosphere that not only underlines the vaguely surreal tone of this story (something that is often missing in dystopian stories), but also allows him to provoke other ideas without derailing the action, which is fundamental to the story. He assimilates a range of characters into the story, each one of them representing some form of moral ambiguity. As a result, Steppenwolf moves past the binary of a story needing only a hero and a villain, and instead indicates a more complex approach to developing characters. Some of this development aligns with the darkly comedic tone of the story, but for the most part, it services the overall message of the film, which is a complex depiction of human psychology in times of conflict, and how we descend to animalistic violence the moment the well-maintained order crumbles, which is the overarching thesis statement of the film.

For those aware of Yerzhanov’s work, Steppenwolf comes across as business as usual, as expecting the unexpected is essentially the most appropriate rule of thumb for his films. However, for those who are not accustomed to his style or aware of his artistic interests, it is a wildly exhilarating film, and one that offers something unique. Much of the film requires us to leap onto the story’s wavelength, simply surrendering to the chaos represented on screen, which is not entirely difficult considering how captivating the story is right from the start. After a while, the novelty of the narrative begins to wear off and we realize the depth of the film, which can come as something of a surprise to those who believed it would just be a straightforward, futurism-influenced action thriller. Instead, it proves to be a freeform existential odyssey with a wicked sense of humour and made by someone with a keen visual eye. The violence is frequent but never excessive (and we find that the director seeks out the beauty in the brutality, which aligns with many of his artistic forerunners), and the overall message envelopes the more inconsequential elements. As an artist committed to showcasing local talent and stories in an industry that has not yet taken notice of Kazakh cinema, Yerzhanov continues to prove his national cinema has quite a bit to offer. Steppenwolf may not be to the taste of every viewer, but its raw ambition and the unfiltered sense of entertainment should be enough for those with an appreciation for the more absurd or unconventional, which is perhaps the exact target audience for this bizarre but entrancing piece of off-kilter artistry.