To love, to live, to get hurt.

In Kazakh culture, friendship or love between people arises from being "seen".

Therefore, in the Kazakh language,

the phrase

"I like you"

carries the meaning of "I

see you clearly

".

——《My Altay》

01 Story overview

This drama is adapted from the essay collection of the same name by writer Li Juan. Li Wenxiu (played by Zhou Yiran), a young Han Chinese woman who grew up in Altay, is determined to pursue her literary dream in a big city. However, after facing repeated setbacks, she is forced to return to her hometown and live in reliance on her mother Zhang Fengxia (played by Ma Yili), who runs a small convenience store. After meeting Batai (played by Yu Shi), a young Kazakh man, Wenxiu gradually discovers the beauty of the local area.

Returning Home in Search of Peace

After facing setbacks in her pursuit of dreams in a big city, Li Wenxiu, a young Han Chinese woman, returns to Altay to live with her mother Zhang Fengxia, who runs a small convenience store. Freshly back, she is filled with confusion. Though her mother, once an educated youth from outside the region, has managed to take care of her dementia-stricken mother-in-law with great resilience and built deep connections with the herdsmen. Gradually, Li Wenxiu begins to adapt to life on the grasslands.

The Bud of Affection

By chance, Li Wenxiu meets Batai, a young Kazakh man. Having returned to the pastoral area from the county’s horse ranch to fulfill his family responsibilities, Batai and Li Wenxiu gradually develop a fondness for each other through their daily interactions. Later, as Li Wenxiu joins Batai’s family in the pasture migration, she gains an in-depth experience of Kazakh customs, witnesses the collision between tradition and modernity, and this journey also deepens their affection for each other.

An Unexpected Separation

Gao Xiaoliang, a man from Guangdong, came to Xinjiang to seek his fortune. He developed a relationship with Zhang Fengxia but stole Grandma’s necklace. During Eid al-Adha, Li Wenxiu’s attempt to recover the necklace sparked a conflict. A hunting rifle accidentally went off, startling Batai’s horse "Taxue" (literally "Treading Snow"), which put Li Wenxiu in danger. To save her, Batai reluctantly shot "Taxue"—overwhelmed by grief, he left afterward, and the two were separated ever since.

Growth and Reunion

After their separation, Li Wenxiu persisted in writing while burdened with self-blame. Once her articles were published, she sent the earnings to compensate for the horse. Meanwhile, Batai spent time reflecting on his future during his period of quiet introspection. Three years later, during the Spring Festival, Batai returned on horseback. Having both grown through their experiences, the two not only gained a clearer understanding of their dreams and responsibilities, but also gave their relationship—one that had endured twists and turns—a chance to start anew.

02 Color aesthetics

In this fast-paced era, we are often constrained by the labels of "useful" and "useless". The TV series My Altay is like a refreshing stream, prompting us to re-examine ourselves and rethink what true life value really is.

Living doesn’t have to be "useful".

Li Wenxiu asked, "I may be clumsy, but I’m still a useful person, aren’t I?"

Her mother replied, "What do you mean by ‘useful’? Was I supposed to give birth to you just so you could serve others? Look at the trees and grass on this grassland—if someone eats them or uses them, people call them ‘useful’. But even if no one uses them, it’s perfectly fine for them to just stay here on the grassland, living freely and unrestrained."

Love as pure as a "spring"

In Kazakh culture, friendship or love between people emerges from being "seen". Therefore, in the Kazakh language, the phrase "I like you" carries the meaning of "I see you clearly".

The instinctive needs between "humans and nature"

The society in these deep mountains seems far removed from the order of modern civilization, yet it has its own spiritual constraints. The mutual restraint derived from the instinctive needs between people, and between humans and nature, is limited—but it is also sufficient.

03 Cinematic Language

The cinematic language of My Altay is like the wind on the grassland—

it carries both the romance of vastness and poetic beauty

, and is filled with the warmth of mundane human life. Through delicate visual expressions, it deeply integrates the story, emotions, and regional characteristics, allowing the audience to immerse themselves in the world of Altay.

Natural Landscape Shots

The drama extensively uses wide shots and long shots to showcase the grandeur of Altay. For instance, the opening wide shot overlooking the grassland—where green stretches to the horizon and cattle and sheep are scattered like tiny stars—not only intuitively presents the regional characteristics but also sets an "open and inclusive" tone for the story.

Character Portrayal Shots

The drama excels at using medium close-ups and close-up shots to capture characters’ emotions, avoiding straightforward emotional outpouring. When Li Wenxiu is frustrated, the camera focuses on her fingers gently rubbing old manuscript paper as she lowers her head, or her slightly reddened eyes as she stares into the distance. Through these details of gestures and expressions, her "confusion" feels more authentic.

Folk Custom Scene Shots

In the scenes of Eid al-Adha, the camera first uses a medium shot to show the liveliness of the gathered herdsmen, then switches to close-ups to capture the food in people’s hands and the smiles on their faces, and finally freezes the festive excitement with a wide shot. Moving from close to distant and from specific details to the overall scene, the camera not only presents the details of the folk customs but also conveys the warmth of collective life.

Rhythm and Light & Shadow Shots

The overall camera rhythm of the drama is mainly "slow and gentle", with rare use of quick cuts. Matching the pace of life in Altay, it allows the story to flow naturally like water on the grassland. The use of long takes makes the connection between "writing and hometown" more natural, and also implies that she finds creative inspiration in this slow pace.

Perceptions and assessments

My Altay is more like a love letter written to one’s hometown.

It shows us that a hometown contains not only familiar scenery, but also a power that nourishes the soul. The answers to life may be hidden in those seemingly ordinary daily moments, and in the love and acceptance of one’s hometown.

TO LOVE, TO LIVE, TO GET HURT.