Darezhan Omirbaev’s penchant for spare, elliptical narrative, muted figures, and disembodied framing (most notably, of hands and feet) have often been (favorably) compared to the rigorous aesthetic of Robert Bresson. However, in imposing such a somber – and inescapably cerebral – analogy, there is also a propensity to overlook the wry, self-effacing humor and irony […]
