With the revival of traditional values and a renewed emphasis on religion after independence, the retreat and domestication of women became central tropes of contemporary Uzbek visual culture. In this context, female representations have often been confined to conventional roles as wives and mothers, thereby limiting their diversity. As such, widespread discourse in media and public opinion claim that Uzbek films are archaic and centered around female victimhood. My project challenges this prevailing narrative of the portrayal of women in Uzbek cinema, which remains highly controversial. A certain number of works offer an alternative—in some ways unruly—image of women who not only overcome traditional barriers, but also initiate progressive dialogues within patriarchal settings. During my time at CSEAS, I intend to explore these complex portrayals by tracing the rebellious women who may be considered scandalous, outspoken, and countercultural, and who were brought to the screen even during times of strict censorship. I will also investigate the adaptability of Uzbek cinema throughout various historical phases and its feminist potential; the latter has only recently begun to surface in the republic during the past few years. My project considers how cinema contributes to broader debates about the status of women, their identity, and new approaches to the upbringing of girls in a society negotiating between tradition and modernity.