While seemingly inanimate objects, the stones are a potent symbol in The Skies of Our Childhood. In one scene, a brother explains to his sister that cave paintings were drawn by their ancestors. The stone walls become a platform for history, the richness of culture, one's origins. In another scene, an old man removes stones from a wild river, symbolizing the search for his son. Instead he finds the souls of other people— the Kyrgyz legend of "San Tash" translates to "counting stones." Conversely, stones marked with numbers for export serve as a metaphor of civilization that invades a land and takes away all its riches.
More than mere quotes, Heavenly Nomadic's references to classic Kyrgyz films mark the continuity of a vibrant Kyrgyz cinema storytelling tradition, translated to modern times. There is a simultaneous sense of respect, and differentiation— an effort to define oneself as new— like Shaiyr's son Ulan who goes to the city find himself a bride. There exists no fear of the Soviet regime, which took away sons (The Skies of Our Childhood); no bitterness about being fatherless child (Beshkempir). Instead, Heavenly Nomadic concludes with the 7-year old girl Umsunai, who bows three times and says: "I forgive you."