Murad Omarov

Murad Omarov—yeah, you’ve probably seen his name pop up if you’ve been paying attention to what’s dropping lately. The guy’s got his fingerprints all over “The Last Ronin” (2024), which people are already buzzing about. That one? Dark, moody, a bit of a gut-punch. Omarov’s style is all over it—visually sharp, a little gritty, but somehow still weirdly elegant. It’s that blend of old-school samurai heartbreak and futuristic edge, you know? Not exactly a family picnic, but you won’t look away. Dig a little deeper and you’ll find “Libereya. Ohotniki za sokrovischami” (2022) on his list, which is a completely different beast. That’s more of an adventure flick, leaning hard into the whole treasure-hunting chaos. Imagine Indiana Jones if he was Russian, and everyone’s a little more desperate. Omarov handles the tension like he’s been doing it for decades, tossing his characters into all kinds of madness—caves, crypts, double-crosses, you name it. It’s wild. Then there’s “Atel-Matel,” which is… well, honestly, it’s hard to pin down. It’s artsy, a little off-kilter, and definitely not what you’d expect after watching his other stuff. But that’s kind of his thing—he doesn’t stick to one lane. You get the feeling he’s just as comfortable with a swordfight as he is with a quiet, weird moment where nothing really happens, but it still hits you. Omarov’s filmography isn’t huge (yet), but it’s already got range.