Kthimi. Filmi hapet me kuad\u00ebr pasqyrimi transparent t\u00eb bregdetit dhe n\u00eb imazhin reflektues, nj\u00eb i ri nd\u00ebrsa pi \u00e7aj dhe e lexon gazet\u00ebn. Kthimet, shpeshher\u00eb, jan\u00eb t\u00eb nj\u00eb dramaciteti biblik q\u00eb v\u00ebshtir\u00eb mund t\u00eb tejkalohen nga nj\u00eb imagjinat\u00eb njer\u00ebzore. Ngjash\u00ebm si\u00e7 ndodh kthimi i Adamit dhe i Ev\u00ebs n\u00eb parajs\u00ebn biblike. Nuri Bilge Ceylan, si rrall\u00ebkush, sh\u00ebnon nj\u00eb prolog pothuaj hyjnor ku nj\u00eb djal\u00eb i ri kthehet nga qyteti i studimeve n\u00eb provinc\u00ebn e tij. Me nj\u00eb shpirt dhe mendje t\u00eb ndritur, me nj\u00eb superioritet t\u00eb ngarkuar mbi supe por edhe nj\u00eb pez\u00ebm, mllef dhe revolt\u00eb t\u00eb akumuluar nd\u00ebr vite.<\/p>\n
Ngjyra e kuadrit n\u00eb hapje \u00ebsht\u00eb e zbeht\u00eb, t\u00eb mjegullta e t\u00eb p\u00ebrziera, ngjash\u00ebm si\u00e7 \u00ebsht\u00eb personaliteti i Sinan Akarsu-s\u00eb (Aydin Dogu Demirkol). Filmat e Ceylanit p\u00ebrb\u00ebhen nga kuadro t\u00eb gj\u00ebrave panoramike, e q\u00eb shpesh t\u00eb ngjasojn\u00eb n\u00eb filma fotografik\u00eb, her\u00eb-her\u00eb edhe t\u00eb m\u00ebrzitsh\u00ebm. Por megjithat\u00eb fryma ekzistenciale, njeriu n\u00eb lakuriq\u00ebsin\u00eb e tij dhe heshtja n\u00eb film e thyen shpejt monotonin\u00eb.<\/p>\n
N\u00eb pika t\u00eb p\u00ebrgjithshme, ky film ka t\u00eb b\u00ebj\u00eb me idealin e nj\u00eb djali t\u00eb ri, ideal ky q\u00eb \u00ebsht\u00eb i lidhur me fatin, gjegj\u00ebsisht fatalitetin e nj\u00eb familje t\u00eb varf\u00ebr. Djali \u00ebsht\u00eb n\u00eb p\u00ebrpjekje t\u00eb botimit t\u00eb nj\u00eb libri, kurse babai p\u00ebr\u00e7apet p\u00ebr rregullimin e nj\u00eb kasolleje n\u00eb fshat, prej nga edhe d\u00ebshiron ta kuptimsoj\u00eb fundit e jet\u00ebs s\u00eb tij.\u00a0Trungu i\u00a0 Dardh\u00ebs s\u00eb eg\u00ebr<\/em>, n\u00eb fakt \u00ebsht\u00eb titulli i romanit t\u00eb cilin e shkruan Sinani andaj edhe simbolika e saj mb\u00ebshtillet rreth trungut e cila ndodhet pran\u00eb kasolles s\u00eb prindit, e n\u00ebn trung ndodhet bunari. Po \u00e7far\u00eb simbolike p\u00ebrmban ky trung, ku q\u00ebndron thyerja shpirt\u00ebrore e Sinanit dhe sublimja e k\u00ebtij trungu?<\/p>\n Filmi \u201cWild Pear tree\u201d apo \u201cTrungu i dardh\u00ebs s\u00eb eg\u00ebr\u201d p\u00ebr her\u00eb t\u00eb par\u00eb u shpalos n\u00eb festivalin e filmit t\u00eb Kan\u00ebs 2018. Regjin\u00eb e filmit e ka b\u00ebr\u00eb Nuri Bilge Ceylan nj\u00ebkoh\u00ebsisht, s\u00eb bashku me Ebru Ceylan, Akin Aksu jan\u00eb edhe skenarist\u00eb t\u00eb filmit. N\u00eb film luajn\u00eb: Aydin Dogu Demrikol, Murat Cemcir, Bennu Yildirimlar dhe Hazar Erguclu. Filmi \u00ebsht\u00eb produkt i p\u00ebrbashk\u00ebt midis disa shteteve si\u00e7 jan\u00eb Turqia, Franca, Gjermania, Maqedonia, Bulgaria, Bosnja-Hercegovina, Suedia dhe Katari.<\/p>\n \u201cTrungu i dardh\u00ebs s\u00eb eg\u00ebr\u201d \u00ebsht\u00eb nj\u00eb film q\u00eb shoq\u00ebrohet me fotografi mahnit\u00ebse t\u00eb natyr\u00ebs n\u00eb kat\u00ebr stin\u00ebt e vitit. Kinematografi Gokhan Tiryaki, ka b\u00ebr\u00eb nj\u00eb pun\u00eb t\u00eb mrekullueshme duke shp\u00ebrfaqur pamjet mahnit\u00ebse, madh\u00ebshtore qoft\u00eb edhe t\u00eb gjeografive provinciale, q\u00eb ne shpesh priremi, jo natyrsh\u00ebm t\u2019i perceptojm\u00eb si t\u00eb sh\u00ebmtuara. Kthimi n\u00eb provinc\u00eb, provinca qoft\u00eb si konstruksion mental apo realitet gjeografik e urban, \u00ebsht\u00eb boshti i temave t\u00eb Nuri Bilge Ceylan-it. Nj\u00eb film ku riu i sapokthyer nga studimet me nj\u00eb ndjenj\u00eb t\u00eb shquar e t\u00eb thell\u00eb superioriteti nuk shp\u00ebton pa shp\u00ebrthyer makthin, trishtimin, problemet sociale dhe familjare t\u00eb Sinanit. P\u00ebr m\u00eb tep\u00ebr, dilema hamletiane e Sinanit zgjidhet krejt n\u00eb fund t\u00eb filmit, duke e pranuar realiteti e bunarit dhe zinxhir\u00ebt fatalist t\u00eb trash\u00ebgimit t\u00eb fatit prind\u00ebror.<\/p>\n Me t\u00eb kthyer nga studimet, dit\u00ebt n\u00eb vazhdim, Sinani me gjyshin e tij do t\u00eb shkojn\u00eb n\u00eb fshat p\u00ebr t\u2019i ndihmuar babait n\u00eb meremetimin e kasolles, ku ai planifikon koh\u00ebn ta kaloj\u00eb e pensionimit. Nj\u00eb kasolle e regjur, e vjet\u00ebr e nd\u00ebrtuar me qerpi\u00e7 e shtrir\u00eb n\u00eb nj\u00eb bregore. Para sht\u00ebpis\u00eb ndodhet \u201cTrungu i Dardh\u00ebs s\u00eb Eg\u00ebr\u201d dhe krejt pran\u00eb aty, rr\u00ebz\u00eb bregores \u00ebsht\u00eb bunari i that\u00eb. K\u00ebt\u00eb bunar, kok\u00ebfort\u00ebsish, p\u00ebrpiqet babai Idrisi ta hap\u00eb tash sa vite. Por kot, bunari \u00ebsht\u00eb i that\u00eb ngaq\u00eb \u00ebsht\u00eb n\u00eb pik\u00eb t\u00eb lart\u00eb mbidetare. Kuadri n\u00eb k\u00ebt\u00eb sekuenc\u00eb \u00ebsht\u00eb fantastik, se si tri gjenerata: babai i bir dhe nipi p\u00ebrpiqen ta nxjerrin nj\u00eb shk\u00ebmb p\u00ebrmes litarit t\u00eb \u00e7ikrikut arkaik. Barra me shk\u00ebmb me t\u00eb arritur p\u00ebrmbi nivelin e bunarit, litari k\u00ebputet dhe shk\u00ebmbi bie prap\u00eb n\u00eb bunar. Pamje sizifiane. T\u00eb gjith\u00eb b\u00ebjn\u00eb pun\u00ebn e Sizifit dhe p\u00ebrballjen me absurdin. Me t\u00eb r\u00ebn\u00eb shk\u00ebmbi n\u00eb bunar, je i pafuqish\u00ebm se kujt t\u2019i \u00e7irresh. Qiellit? Njeriut? Apo thjesht, ta pranosh si absurd.<\/p>\n Idrisi, babai i Sinanit, nj\u00eb m\u00ebsues n\u00eb shkoll\u00ebn e qytetit, \u00ebsht\u00eb i lidhur me loj\u00ebrat e fatit, nj\u00eb obsesion i meshkujve n\u00eb Turqi. Ballafaqimi me borxhet familjare, jet\u00ebn mizore dhe indiferenc\u00ebn e babait, Sinani e p\u00ebrkthen n\u00eb form\u00eb t\u00eb derdhjes s\u00eb nj\u00eb pezmi ironik me nuanca revolte. Ai, nuk heziton aspak, t\u00eb prish\u00eb gjith\u00e7ka q\u00eb mundet, t\u00eb thot\u00eb t\u00eb v\u00ebrtetat m\u00eb t\u00eb hidh\u00ebta por edhe t\u00eb shpreh komplekset e tij n\u00eb form\u00eb t\u00eb \u00e7oroditur ironie. Sipas tij, \u00c7an-i \u2013 pjes\u00eb e komun\u00ebs s\u00eb \u00c7anakalas\u00eb – \u00a0\u00ebsht\u00eb nj\u00eb vend me njer\u00ebz mendjengusht\u00eb t\u00eb cil\u00ebt i p\u00ebrngjasin nj\u00ebri tjetrit. Sinani ka nj\u00eb n\u00ebn\u00eb dhe nj\u00eb mot\u00ebr. N\u00ebna paraqitet n\u00eb karakterin e gruas s\u00eb fort\u00eb e cila \u00ebsht\u00eb direku apo vet\u00ebdija e sht\u00ebpis\u00eb. Kurse motra, me sjellje kapri\u00e7ioze dhe e harlisur. Familje tipike e kast\u00ebs s\u00eb mesme por q\u00eb paraqitet n\u00eb etapa t\u00eb v\u00ebshtira varf\u00ebrie.<\/p>\n Regjisori \u00ebsht\u00eb p\u00ebrkujdesur edhe p\u00ebr detaje t\u00eb tjera p\u00ebrmes t\u00eb cilave d\u00ebrgon mesazhe edhe kur nuk jemi t\u00eb v\u00ebmendsh\u00ebm. \u00c7ajtorja n\u00eb t\u00eb cil\u00ebn Idrisi, babai i Sinanit, e her\u00eb pas here edhe ky i fundit e frekuentojn\u00eb, mban paralajm\u00ebrimet e ndalimit t\u00eb duhanit, e q\u00eb n\u00eb fakt nuk respektohet. Kjo t\u00eb ngjan pak a shum\u00eb me mentalitetin ton\u00eb ballkanik, qoft\u00eb ai i qendr\u00ebs. Nuk len pa r\u00ebn\u00eb n\u00eb sy edhe fotoja\u00a0 Alber Camy-s, ekzistencialistit francez me origjin\u00eb algjeriane, e ngjitur n\u00eb der\u00ebn e dollapit personal t\u00eb Sinanit. Librarin\u00eb t\u00eb cil\u00ebt e frekuenton Sinani, nuk ka se si mos t\u00eb bien n\u00eb sy portretet e varura n\u00eb mur t\u00eb Simone De Beauvoir, Franz Kafka dhe Gabriel Garcia Marquez.<\/p>\n Dialog\u00ebt n\u00eb mes personazheve fillojn\u00eb ashtu befsh\u00ebm, me pahir po nd\u00ebrkoh\u00eb b\u00ebhen t\u00eb rr\u00ebshqitshme, e her\u00eb-her\u00eb kulmojn\u00eb n\u00eb shfryrje emocionale dhe impulsesh t\u00eb akumuluara n\u00eb m\u00ebnyr\u00eb kronike. Megjithat\u00eb, heshtja apo kuadrot fotografik\u00eb me personazhin n\u00eb planin e bustit e shpalosin nj\u00eb dimension tep\u00ebr hyjnor dhe p\u00ebrgj\u00ebrues t\u00eb heshtjes. K\u00ebrkohet t\u00eb t\u00eb d\u00ebgjoj\u00eb qielli, por ai \u00ebsht\u00eb i shurdh\u00ebr dhe njeriu i shkret\u00eb njeri, \u00ebsht\u00eb krejt\u00ebsisht i vetmuar n\u00eb k\u00ebt\u00eb bot\u00eb. Vetmia, p\u00ebr Sinanin, ishte nj\u00eb mund\u00ebsi e mir\u00eb sublime frym\u00ebzimi p\u00ebr krijim artistik. Por ama Sinani, k\u00ebrkonte me k\u00ebmb\u00ebngulje vetmin\u00eb duke derdhur pezmin p\u00ebrreth tij. Dialog\u00ebt e tij jan\u00eb me p\u00ebrplot ironi, sarkaz\u00ebm dhe komplekse superioriteti.<\/p>\n Moment i r\u00ebnd\u00ebsish\u00ebm, prek\u00ebs por edhe dekonstruktues \u00ebsht\u00eb p\u00ebrpjekja e tij \u2013 gjat\u00eb bised\u00ebs me biznesmenin lokal \u2013 p\u00ebr ta shpjeguar sesi individi i k\u00ebsaj ane \u00ebsht\u00eb p\u00ebrmbytur dhe eklipsuar nga \u00a0nj\u00eb beteje t\u00eb shekullit t\u00eb kaluar, gj\u00eb q\u00eb sipas shkrimtarit, kultura e t\u00eb jetuarit dhe fatet njer\u00ebzore jan\u00eb po aq, mbase edhe m\u00eb tep\u00ebr se sa nj\u00eb luft\u00eb e zhvilluar dikur. Sinani solidarizohet me t\u00eb tanishmen, t\u00eb k\u00ebtushmen dhe refuzon t\u00eb mendoj\u00eb se lavdia e d\u00ebshmor\u00ebve t\u00eb luft\u00ebs \u00ebsht\u00eb m\u00eb e r\u00ebnd\u00ebsishme se jeta nj\u00eb plaku pijanec q\u00eb v\u00ebrdalliset rrug\u00ebve t\u00eb \u00c7anakalas\u00eb. Gjersa t\u00eb gjith\u00eb p\u00ebrpiqen t\u2019i dalin zot d\u00ebshmor\u00ebve t\u00eb \u00c7anakalas\u00eb, e pse 70-vje\u00e7arit, gjyshit Riza nuk i del zot dot askush?<\/p>\n N\u00eb let\u00ebrsit\u00eb popullore \u00ebsht\u00eb shkruar shum\u00eb p\u00ebr mitet me origjin\u00eb natyrore si\u00e7 jan\u00eb, mali, lisi dhe toka. Mali \u00ebsht\u00eb simbol i adhurimit, trungu \u00ebsht\u00eb simbol i vjet\u00ebrsis\u00eb dhe i q\u00ebndres\u00ebs, kurse toka \u00ebsht\u00eb simboli i identitetit dhe i prejardhjes. Prezenca e trungut t\u00eb dardh\u00ebs s\u00eb eg\u00ebr n\u00eb kuadrin filmik p\u00ebr\u00e7on edhe mesazhin e jet\u00ebs dhe vdekjes. Nj\u00eb dit\u00eb, teksa Sinani po vinte drejt kasolles s\u00eb babait Idris, lemeriset teksa sheh babin e shtrir\u00eb n\u00eb trung. Litari q\u00eb varej n\u00eb dardh\u00eb dukej i k\u00ebputur e Idrisi i shtrir\u00eb si p\u00ebr vdekje. Qet\u00ebsi. F\u00ebrsh\u00ebllimat e gjetheve n\u00eb mal, furtunat brenda vetes, ankthi n\u00eb vete e b\u00ebnte Sinani t\u00eb ndodhet para dilem\u00ebs frojdiane. E hoq\u00ebm qafe k\u00ebt\u00eb prind t\u00eb mallkuar. Kjo \u00ebsht\u00eb skena ku ndodh kthesa e madhe ontologjike. Babai Idris dukej se kishte kryer vet\u00ebvrasje. Pas shum\u00eb dilemave, i trishtuar pas nj\u00eb misioni q\u00eb ishte dashur ta kryente Sinani \u2013 ta vriste babain n\u00eb zemr\u00ebn e tij \u2013 Idrisi tashm\u00eb ishte p\u00ebrkujdesur vet\u00eb p\u00ebr k\u00ebt\u00eb gj\u00eb. Ai dukej se ia kishte marr\u00eb jet\u00ebn vetes. Sinani i kthyer, s\u2019deshi t\u2019i afrohej fare. Pas disa hapave, u ndal. Megjithat\u00eb e kishte baba. Me t\u2019u kthyer i afrohet \u201ckufom\u00ebs\u201d e cila ishte p\u00ebrmbysur me fytyr\u00eb p\u00ebrdhe, e mbuluar nga insektet dhe buburrecat. Idrisi fillon t\u2019i l\u00ebviz\u00eb qepallat. Ishte gjall\u00eb. Po dremiste.<\/p>\n Sinani \u00ebsht\u00eb shpirti i cili sh\u00ebtitet n\u00eb \u00e7do trup t\u00eb shoq\u00ebris\u00eb. Ai ndodhet n\u00eb t\u00eb gjitha dialog\u00ebt. Nga ato t\u00eb p\u00ebrditshmet, debatet p\u00ebr artit dhe vet\u00ebvler\u00ebsimi e konstruktin social t\u00eb shkrimtarit, debatet p\u00ebr martes\u00ebn dhe dashurit\u00eb e harruara, aft\u00ebsit\u00eb kalkulonte t\u00eb provincialit dhe debatin p\u00ebr fen\u00eb. Nuri Bilge Ceylan, p\u00ebrmes Sinanit, p\u00ebrpiqet q\u00eb t\u00eb jap\u00eb nj\u00eb pasqyr\u00eb reale t\u00eb probleme t\u00eb qenies turke dhe ballafaqimit t\u00eb tij me realitetin atje. Nj\u00eb sekuenc\u00eb shum\u00eb interesante e besa edhe intriguese \u00ebsht\u00eb edhe debati mbi fen\u00eb, konceptimin e saj dhe (pa)mund\u00ebsit\u00eb e reformimit t\u00eb saj. N\u00eb nj\u00eb plan filmik, dy ligj\u00ebrues fetar\u00eb \u2013 imam\u00eb dhe shkrimtari, i cili e mban rolin e kritikut dhe agnostikut. \u00a0Biseda p\u00ebr fen\u00eb fillon nga dasmat e shtrenjta dhe ari q\u00eb jepet n\u00eb zonat e thella t\u00eb Turqis\u00eb. Tutje, ky debat vazhdon rreth rolit t\u00eb arsyes n\u00eb fe, ku imami \u00ebsht\u00eb tradicionalist \u2013 q\u00eb tashm\u00eb e kishte kryer mandatit si imam fshati dhe po kthehej \u2013 mbron iden\u00eb e p\u00ebrfundimit interpretimit t\u00eb fes\u00eb. Sipas tij, n\u00ebse do i futeshim interpretimeve alternative do kishim fe po aq sa ka njer\u00ebz. Sipas imamit tradicionalist ky ishte nj\u00eb kurth i periudh\u00ebs s\u00eb reformacionit n\u00eb per\u00ebndim. N\u00eb an\u00ebn tjet\u00ebr imami i ri \u2013 i cili sapo ishte em\u00ebruar n\u00eb fshat \u2013 flet p\u00ebr mund\u00ebsit\u00eb alternative t\u00eb interpretimit t\u00eb fes\u00eb. Debati n\u00eb p\u00ebrgjith\u00ebsi ka t\u00eb b\u00ebj\u00eb p\u00ebrshtatjen Islamit me modernitetin. Debat ky me nj\u00eb shtrirje t\u00eb gjer\u00eb midis akademik\u00ebsh teolog\u00eb n\u00eb Turqi dhe qarqe t\u00eb tjera intelektuale. Imami reformator k\u00ebmb\u00ebngul n\u00eb ndryshimin dhe qasjen ndaj burimeve historike t\u00eb islamit dhe se ka ardhur koha q\u00eb t\u2019i referohemi burimeve dhe rrjeteve alternative t\u00eb p\u00ebr\u00e7imit t\u00eb tradit\u00ebs kurse imami tradicionalist. Me nj\u00eb fjal\u00eb, k\u00ebrkon dekolonizimin e dijes fetare nga kthetrat kushtetore q\u00eb jan\u00eb mbartur n\u00eb histori, gjenerat\u00eb pas gjenerate. Shkrimtari kritik mbron iden\u00eb se gjith\u00e7ka duhet t\u2019i n\u00ebnshtrohet kritik\u00ebs apo vet\u00ebkritik\u00ebs. Sinani, n\u00eb p\u00ebrgjith\u00ebsi mendon se njeriu duhet ta ndjek\u00eb t\u00eb v\u00ebrtet\u00eb dhe sipas tij \u2013 i cili as n\u00eb k\u00ebt\u00eb debat nuk arrin ta fsheh ironin\u00eb \u2013 thot\u00eb se ka shum\u00eb njer\u00ebz q\u00eb pavar\u00ebsisht t\u00eb v\u00ebrtet\u00ebs ata prap\u00eb do ta zgjidhnin islamin. N\u00eb an\u00ebn tjet\u00ebr imami tradicionalist flet mbi simbioz\u00ebn e moralit dhe fes\u00eb. P\u00ebr t\u00eb qen\u00eb i moralsh\u00ebm a duhesh t\u00eb jesh edhe fetar apo i moralsh\u00ebm mund t\u00eb jet\u00eb edhe ateisti?<\/p>\n Pas kthimit nga sh\u00ebrbimi ushtarak Sinani kthehet n\u00eb sht\u00ebpi. Paketat e librave t\u00eb tij i ka nx\u00ebn\u00eb myku. As n\u00ebna e as motra nuk e kishin lexuar librin. N\u00eb librari m\u00ebsoi se asnj\u00eb kopje nuk iu kishte shitur. Idrisi ishte shp\u00ebrngulur n\u00eb fshat. N\u00eb kasollen e tij, gjegj\u00ebsisht n\u00eb kulet\u00ebn e babait, ai gjen artikullin e nji gazete p\u00ebr librin e Sinanit. Mall\u00ebngjehet, mbushet n\u00eb lot. Krejt papritmas, n\u00eb kuad\u00ebr shfaqet dardha e eg\u00ebr dhe litari. N\u00eb litar \u00ebsht\u00eb e varur nj\u00eb foshnje. Me t\u2019u afruar kuadri n\u00eb plan shohim se foshnja \u00ebsht\u00eb kapluar nga buburrecat q\u00eb ecin trishtuesh\u00ebm dhe irrituesh\u00ebm mbi fytyr\u00ebn e saj. Mu ashtu sikur n\u00eb kuadrin ku shihet babai i tij i shtrir\u00eb n\u00eb tok\u00eb pran\u00eb dardh\u00ebs s\u00eb eg\u00ebr me litarin pingul. Ky \u00ebsht\u00eb nj\u00eb moment reflektimi. Jeta mbaron ashtu si\u00e7 fillon. Fillimi e predestinon fundin. F\u00ebmija \u00ebsht\u00eb i ngujuar n\u00eb fatin e prindit t\u00eb tij. Ne jemi vazhdim\u00ebsia e rrug\u00ebtimit ton\u00eb prind\u00ebror. T\u00eb qenit i revoltuar nuk mjafton ta \u201cvras\u00ebsh\u201d baban\u00eb brenda vetes. Ai banon n\u00eb qenin t\u00ebnde.<\/p>\n Filmi p\u00ebrmbyllet me kuadrin n\u00eb form\u00eb t\u00eb nj\u00eb mirazhi a \u00ebndrre me bunarin, i cili ndodhet pran\u00eb kasolles ku duket i varur pingul n\u00eb brend\u00ebsi t\u00eb murit n\u00eb litarin e \u00e7ikrikut. Me t\u2019u afruar pran\u00eb bunarit gjersa n\u00eb prapavij\u00eb d\u00ebgjojm\u00eb gum\u00ebzhitjen e litarit q\u00eb po l\u00ebkundet, Sinani ishte varur n\u00eb litar. Vet\u00ebvrasje n\u00eb bunar. Babai Idris zgjohet nga gjumi. Aty pran\u00eb nuk e kishte Sinanin. Vajti t\u2019i l\u00ebshoj\u00eb delet jasht\u00eb dhe t\u2019u jap\u00eb san\u00eb. Ai prap\u00eb filloi ta k\u00ebrkoj\u00eb Sinanin. Teksa babai i Sinanit d\u00ebgjonte gum\u00ebzhitjen dhe disa krak\u00ebllima goditjeje i afrohet me droj\u00eb bunarit. \u00c7far\u00eb t\u00eb shoh\u00eb? T\u00eb dihaturat e tij d\u00ebgjoheshin lart. Fuqish\u00ebm. Sinani g\u00ebrmonte bunarin. Mbi gurin, shk\u00ebmbin e r\u00ebn\u00eb t\u00eb ver\u00ebs, ai mbivendosi edhe nj\u00eb shk\u00ebmb tjet\u00ebr. Shk\u00ebmbin e tij.<\/p>\n Nj\u00eb film mbi 3 or\u00eb i gjat\u00eb. Aq shum\u00eb kuadro, dialog\u00eb dhe fotografi. Mesazhin e thell\u00eb njer\u00ebzor t\u00eb cilin mund ta nxjerrim nga ky film \u00ebsht\u00eb se jeta \u00ebsht\u00eb me madhe se mendimi e intelekti. Kujdes kur kritikoni bindjet e baballar\u00ebve. Kritikoni me dhembshuri e dashuri. Kujdes kur i gjykoni, aq m\u00eb keq kur i p\u00ebrqeshni \u00ebndrrat e et\u00ebrve tuaj. Mos harroni se edhe ne jemi pjes\u00eb e \u00ebndrrave t\u00eb tyre. Me koh\u00eb do t\u00eb bindemi se \u00ebndrrat tona nuk dallojn\u00eb nga ato t\u00eb t\u00eb et\u00ebrve. Madje ne p\u00ebrbrend\u00ebsojm\u00eb dhe i vazhdojm\u00eb tutje \u00ebndrrat e tyre. Mbase ky \u00ebsht\u00eb \u00e7mimi i nj\u00eb egoizmi filantrop dhe t\u00eb detyruar por jemi k\u00ebta q\u00eb jemi dhe mbetemi po ata q\u00eb ishim. Jemi fiks t\u00eb nj\u00ebjt\u00eb. Dardha pik\u00eb nd\u00ebr Dardh\u00eb!<\/p>","protected":false},"excerpt":{"rendered":" Kthimi. Filmi hapet me kuad\u00ebr pasqyrimi transparent t\u00eb bregdetit dhe n\u00eb imazhin reflektues, nj\u00eb i ri nd\u00ebrsa pi \u00e7aj dhe e lexon gazet\u00ebn. Kthimet, shpeshher\u00eb, jan\u00eb t\u00eb nj\u00eb dramaciteti biblik q\u00eb v\u00ebshtir\u00eb mund t\u00eb tejkalohen nga nj\u00eb imagjinat\u00eb njer\u00ebzore. Ngjash\u00ebm si\u00e7 ndodh kthimi i Adamit dhe i Ev\u00ebs n\u00eb parajs\u00ebn biblike. Nuri Bilge Ceylan, si […]<\/p>","protected":false},"author":136,"featured_media":1505,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[748,749,695],"ppma_author":[164],"class_list":["post-1504","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-cinema","tag-foreign-cinema","tag-philosophy"],"authors":[{"term_id":164,"user_id":136,"is_guest":0,"slug":"latif-mustafa","display_name":"Latif Mustafa","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-8.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-8.jpg"},"user_url":"","last_name":"Mustafa","first_name":"Latif","description":"Latif Mustafa ka p\u00ebrfunduar studimet n\u00eb fush\u00ebn e filozofis\u00eb pran\u00eb Universitetit t\u00eb Prishtin\u00ebs. Ai, po ashtu, ka qen\u00eb asistent hulumtues n\u00eb kuad\u00ebr t\u00eb Institutit t\u00eb Aleanc\u00ebs s\u00eb Qytet\u00ebrime n\u00eb Stamboll. Ka qen\u00eb autor i emisionit filozofik Pik\u00ebPamje, autor dhe publicist i analizave socio-politike t\u00eb botuara n\u00eb shtypin e Maqedonis\u00eb s\u00eb Veriut. S\u00eb fundi, ai \u00ebsht\u00eb angazhuar si kritik n\u00eb revist\u00ebn p\u00ebr teorin\u00eb, historin\u00eb dhe kultur\u00ebn e filmit \u2013 Kinopis, e cila botohet n\u00eb kuad\u00ebr t\u00eb Kinotek\u00ebs t\u00eb Republik\u00ebs s\u00eb Maqedonis\u00eb s\u00eb Veriut. Ai, \u00ebsht\u00eb aktivist dhe ligj\u00ebrues n\u00eb fush\u00ebn e edukimit mediatik n\u00eb kuad\u00ebr t\u00eb projekteve t\u00eb shoq\u00ebris\u00eb civile n\u00eb Maqedonin\u00eb e Veriut."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/1504","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/136"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=1504"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/1504\/revisions"}],"predecessor-version":[{"id":1506,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/1504\/revisions\/1506"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/1505"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=1504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=1504"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=1504"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=1504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}