{"id":2153,"date":"2022-07-28T15:32:05","date_gmt":"2022-07-28T14:32:05","guid":{"rendered":"https:\/\/sbunker.org\/?p=2153"},"modified":"2023-12-12T15:34:11","modified_gmt":"2023-12-12T14:34:11","slug":"lufta-e-ftohte-e-nje-marredhenieje","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/lufta-e-ftohte-e-nje-marredhenieje\/","title":{"rendered":"Lufta e Ftoht\u00eb e nj\u00eb marr\u00ebdh\u00ebnieje"},"content":{"rendered":"
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Kritik\u00eb mbi filmin “Cold War”<\/p>\n<\/div>\n

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\u201cCold War\u201d nxit nj\u00eb diskutim filozofik p\u00ebr dashurin\u00eb, lirin\u00eb dhe m\u00ebnyr\u00ebn sesi perceptohen marr\u00ebdh\u00ebniet n\u00eb koh\u00eb dhe hap\u00ebsir\u00eb t\u00eb ndryshme; pas hekurave apo n\u00ebn qiellin e kalt\u00ebr… Ky \u00ebsht\u00eb nj\u00eb film artistik q\u00eb na fton p\u00ebr t\u00eb dekonstruktuar t\u00eb shkuar\u00ebn dhe analizuar n\u00eb m\u00ebnyr\u00eb kritike t\u00eb tashmen, duke mos e marr\u00eb p\u00ebr t\u00eb mir\u00ebqen\u00eb bot\u00ebn ku p\u00ebrkasim dhe nj\u00ebri-tjetrin.<\/em><\/p>\n

N\u00eb fshatrat e rr\u00ebnuara t\u00eb Polonis\u00eb s\u00eb 1949, teksa ngrica mes Per\u00ebndimit dhe Lindjes \u00ebsht\u00eb shtruar tashm\u00eb, dirigjenti e muzikologu Viktor (Wiktor) (Tomasz Kot<\/a>) dhe producentja Irena (Agata Kulesza<\/a>), po enden nga nj\u00ebri fshat n\u00eb tjetrin, n\u00eb k\u00ebrkim t\u00eb t\u00eb rinjve t\u00eb talentuar, q\u00eb mund t\u00eb performojn\u00eb muzik\u00eb tradicionale polake. Af\u00ebrmendsh, q\u00ebllimi nuk \u00ebsht\u00eb rigjenerimi i kultur\u00ebs dhe tradit\u00ebs polake por zbavitja e zyrtar\u00ebve t\u00eb partis\u00eb n\u00eb teatro, p\u00ebrhapja e propagand\u00ebs sovjetike dhe mburrja te homolog\u00ebt ne Lindje, t\u00eb cil\u00ebt mund ta shijojn\u00eb suksesin e Republik\u00ebs Popullore t\u00eb Polonis\u00eb, nj\u00eb her\u00eb n\u00eb kaq, gjat\u00eb vizitave reciproke.<\/p>\n

Jasht\u00eb godin\u00ebs ku supozohet t\u00eb trajnohen artist\u00ebt e rinj, baneri \u201cNe mir\u00ebpresim t\u00eb nes\u00ebrmen<\/em>!\u201d bie papritur, s\u00eb bashku me pun\u00ebtorin q\u00eb po p\u00ebrpiqej ta varte at\u00eb. Nj\u00eb ironi zbavit\u00ebse marr\u00eb parasysh se e vetmja e \u201cardhme\u201d q\u00eb diktatura mundi t\u00eb garantonte ishte rifabrikimi i historis\u00eb, ku nacionalizmi u p\u00ebrdor si instrument shtypjeje, agjitacioni dhe propagande.<\/p>\n

Zula (Joanna Kulig<\/a>) hyn n\u00eb sken\u00eb si nj\u00eb grua e re, n\u00eb dukje naive dhe e pafajshme, me flok\u00ebt t\u00eb lidhura g\u00ebrshet dhe nj\u00eb q\u00ebndrim t\u00eb spikatur jokonformist. Megjithat\u00eb, ajo do t\u00eb p\u00ebrshfaqet shpejt n\u00eb personazhin rebel dhe inteligjent q\u00eb \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb, s\u00eb cil\u00ebs nuk i b\u00ebn syri t\u00ebrr, aq sa nd\u00ebr t\u00eb tjera ka tentuar t\u00eb vras\u00eb t\u00eb atin, si p\u00ebrgjigje ndaj abuzimit t\u00eb tij. \u201cAi m\u00eb ngat\u00ebrroi me time \u00ebm\u00eb, ndaj p\u00ebrdora nj\u00eb thik\u00eb p\u00ebr t\u2019ia b\u00ebr\u00eb t\u00eb qart\u00eb dallimin.\u201d – i rr\u00ebfen ajo Viktorit. Duke pretenduar t\u00eb vij\u00eb nga nj\u00ebri prej fshatrave p\u00ebrreth, Zula n\u00eb fakt po p\u00ebrpiqet t\u2019i b\u00ebj\u00eb vend vetes gjat\u00eb lirimit me kusht. Viktori t\u00ebrhiqet menj\u00ebher\u00eb nga ajo sipas tij, p\u00ebr shkak t\u00eb \u201corigjinalitetit, energjis\u00eb dhe shpirtit t\u00eb saj\u201d.<\/p>\n

\u201cCold War\u201d<\/a>\u00a0\u00ebsht\u00eb nj\u00eb film epigramatik, krijuar p\u00ebrmes nj\u00eb dimensioni t\u00eb kadifenjt\u00eb\u00a0chiaroscuro<\/em>\u00a0nga regjisori dhe producenti polak Pavel Pavlikovski (Pawe\u0142 Pawlikowski<\/a>), gjithashtu\u00a0bart\u00ebs i \u00e7mimit Oscar<\/a>. Filmi, i cili qend\u00ebrzohet te dashuria e protagonist\u00ebve, i\u00a0kushtohet<\/a>\u00a0prind\u00ebrve t\u00eb tij. Megjithat\u00eb, kjo nuk \u00ebsht\u00eb nj\u00eb biografi e tyre por pasqyrim i nj\u00eb marr\u00ebdh\u00ebnieje intensive dhe gati t\u00eb pabesueshme mes Viktorit dhe Zula Pavlikovskit. \u201cKjo \u00ebsht\u00eb fantazma e prind\u00ebrve t\u00eb mi, n\u00eb nj\u00eb far\u00eb m\u00ebnyre, e marr\u00ebdh\u00ebnies s\u00eb tyre t\u00eb nd\u00ebrlikuar.” – \u00ebsht\u00eb shprehur Pavlikovski n\u00eb\u00a0nj\u00eb intervist\u00eb t\u00eb vitit 2018<\/a>.<\/p>\n

Historia shpaloset kur Viktori dhe Zula nisin t\u00eb nd\u00ebrveprojn\u00eb s\u00eb bashku mes kufijve shtet\u00ebror\u00eb dhe ideologjive t\u00eb koh\u00ebs; pranis\u00eb s\u00eb aparat\u00e7ik\u00ebve dhe spiunazhit n\u00eb jet\u00ebt e tyre; xhelozis\u00eb, pabesive romantike; d\u00ebshir\u00ebs dhe \u00e7menduris\u00eb p\u00ebr nj\u00ebri-tjetrin, gjat\u00eb 15 viteve t\u00eb Luft\u00ebs s\u00eb Ftoht\u00eb, p\u00ebrmbledhur n\u00eb 89 minuta filmike. Fotografia\u00a0noir<\/em>, estetika pothuajse teatrale, kolona e sofistikuar zanore, n\u00eb t\u00eb cil\u00ebn k\u00ebnga \u201cDwa serduszka<\/em>\u201d (\u201cDy zemra\u201d) shnd\u00ebrrohet n\u00eb nj\u00eb lajtmotif t\u00eb filmit; graviteti i tij politik dhe performancat e shk\u00eblqyera t\u00eb Joana Kuligut dhe Tomash Kotit e transformojn\u00eb filmin (sikurse e p\u00ebrshkruan shkrimtarja An\u00eb Hornadej (Anne Hornaday) n\u00eb Washington Post), n\u00eb nj\u00eb\u00a0od\u00eb t\u00eb d\u00ebshir\u00ebs erotike<\/a>, ndjeshm\u00ebris\u00eb radikale dhe deklaratave t\u00eb fuqishme politike.<\/p>\n

P\u00ebrpikm\u00ebria kompozicionale e filmit e udh\u00ebheq audienc\u00ebn, t\u00eb kapluar nj\u00ebkoh\u00ebsisht nga ankthi dhe admirimi, drejt dashuris\u00eb s\u00eb pamundur t\u00eb dashnor\u00ebve. Rrug\u00ebtimi i tyre p\u00ebrshkon Varshav\u00ebn drejt Berlinit Lindor, Parisit e Jugosllavis\u00eb; ai kalon nga k\u00ebng\u00ebt tradicionale polake te muzika \u201cborgjeze\u201d xhaz e ritmet \u201cdegjeneruese\u201d t\u00eb\u00a0rock \u2018n\u2019 roll<\/em>-it. Nga \u201cpun\u00ebtor\u00ebt e \u201cproletariatit kulturor\u201d te intelektual\u00ebt snob\u00eb t\u00eb kafeneve dhe klubeve pariziene. Ky ndryshim i ethsh\u00ebm mjedisesh dhe muzike, trazirash t\u00eb brendshme e t\u00eb jashtme, pasqyron n\u00eb nj\u00eb far\u00eb m\u00ebnyre edhe vet\u00eb rrjedh\u00ebn e marr\u00ebdh\u00ebnies s\u00eb Viktorit dhe Zul\u00ebs.<\/p>\n

N\u00eb t\u00eb shquajm\u00eb gjithashtu edhe zhvillimin e m\u00ebtejsh\u00ebm t\u00eb personazheve. Zula gradualisht maturohet n\u00eb grua. Ajo mbetet nj\u00eblloj \u00e7apk\u00ebne por tashm\u00eb me nj\u00eb ndjeshm\u00ebri m\u00eb t\u00eb rafinuar. E detyruar t\u00eb b\u00ebhet n\u00ebn\u00eb, asaj i duhet t\u00eb duroj\u00eb nj\u00eb f\u00ebmij\u00eb q\u00eb e konsideron barr\u00eb dhe nj\u00eb bashk\u00ebshort t\u00eb cilin e urren\u2014emisarin e partis\u00eb me t\u00eb cilin \u00ebsht\u00eb martuar vet\u00ebm p\u00ebr t\u2019i ardhur n\u00eb ndihm\u00eb Viktorit, n\u00eb m\u00ebnyr\u00eb q\u00eb k\u00ebtij t\u00eb fundit t\u2019i ulet d\u00ebnimi. Burgun Viktori e vuan pas akuzave t\u00eb rreme si \u201ctradh\u00ebtar i kombit\u201d dhe \u201cagjent i britanik\u00ebve\u201d, pas kthimit n\u00eb Poloni nga Franca, n\u00eb k\u00ebrkim t\u00eb Zul\u00ebs, pas nj\u00eb tjet\u00ebr p\u00ebrleshjeje tyren dhe i vet\u00ebdijsh\u00ebm p\u00ebr fatin q\u00eb e priste me riatdhesimin.<\/p>\n

Metamorfoza n\u00ebp\u00ebr t\u00eb cil\u00ebn kalon Viktori e redukton at\u00eb n\u00eb nj\u00eb burr\u00eb t\u00eb n\u00ebnshtruar. Si emigrant,\u00a0\u00a0n\u00eb Paris ai u dor\u00ebzohet pritshm\u00ebrive paragjykuese dhe ekzotifikuese t\u00eb per\u00ebndimor\u00ebve p\u00ebr t\u00eb. Ai sillet ashtu si\u00e7 pritet prej tij \u00e7ka m\u00eb von\u00eb b\u00ebhet e padurueshme p\u00ebr natyr\u00ebn krenare dhe t\u00eb pakompromis t\u00eb Zul\u00ebs. Iluzioni i tij i liris\u00eb shnd\u00ebrrohet n\u00eb ng\u00ebrthim torturues p\u00ebr Zul\u00ebn. \u201cM\u00eb keq\u201d, si\u00e7 e krahason ajo \u201cse dit\u00ebt e saj n\u00eb Poloni\u201d. Mjedisi t\u00ebhuajsues per\u00ebndimor i sfidon ata n\u00eb raport me nj\u00ebri-tjetrin dhe vetveten. Zula, nj\u00eb flutur\u00ebz sociale, \u00ebsht\u00eb m\u00ebsuar t\u00eb gjalloj\u00eb n\u00eb hap\u00ebsira kolektive si konteksti komunist polak ndryshe nga Viktori, natyra introverte e t\u00eb cilit ia b\u00ebn m\u00eb t\u00eb leht\u00eb p\u00ebrqafimin e individualizmit per\u00ebndimor.<\/p>\n

A mund ta ruajn\u00eb Viktori dhe Zula dashurin\u00eb e tyre n\u00eb t\u00eb till\u00eb hap\u00ebsir\u00eb t\u00ebhuajsuese, q\u00eb mbart fuqin\u00eb p\u00ebr t\u2019ua degjeneruar ndjenj\u00ebn, n\u00eb nj\u00eb luft\u00eb t\u00eb ftoht\u00eb t\u00eb llojit t\u00eb vet? A \u00ebsht\u00eb dashuria ekzaltuese vet\u00ebm n\u00eb saj\u00eb t\u00eb kushteve t\u00eb jashtme q\u00eb e ndikojn\u00eb at\u00eb, n\u00eb rastin n\u00eb fjal\u00eb, pasi marr\u00ebdh\u00ebnia e tyre \u00ebsht\u00eb e fsheht\u00eb, madje e ndaluar dhe skandaloze p\u00ebr moralin e koh\u00ebs? \u201cDo t\u00eb jem me ty deri n\u00eb fund t\u00eb bot\u00ebs por un\u00eb po t\u00eb spiunoj.\u201d – i thot\u00eb Zula Viktorit q\u00eb n\u00eb fillim. \u201cUn\u00eb i rr\u00ebfehem \u00e7do dit\u00eb Ka\u00e7marekut (Borys Szyc<\/a>) p\u00ebr ty, por asnj\u00ebher\u00eb nuk i them di\u00e7ka q\u00eb mund t\u00eb t\u00eb l\u00ebndoj\u00eb.\u201d E megjithat\u00eb, intimiteti i tyre ting\u00ebllon i pathyesh\u00ebm. Ata i besojn\u00eb nj\u00ebri-tjetrit verb\u00ebrisht, pavar\u00ebsisht pranis\u00eb asfiksuese t\u00eb mosbesimit t\u00eb institucionalizuar, q\u00eb p\u00ebrb\u00ebn shtyllat mbi t\u00eb cilat gjallon nj\u00eb shoq\u00ebri e t\u00ebr\u00eb. I vetmi dyshim q\u00eb ata kan\u00eb karshi nj\u00ebri-tjetrit \u00ebsht\u00eb ai q\u00eb r\u00ebndom mund t\u2019i trazoj\u00eb disa t\u00eb dashuruar: ndjenja posesive dhe egoiste n\u00ebse duhen vet\u00ebm mesveti dhe n\u00ebse marr\u00ebdh\u00ebnia e tyre nuk k\u00ebrc\u00ebnohet nga t\u00eb tjer\u00eb.<\/p>\n

Zula ia ironizon ish t\u00eb dashurat Viktorit. Nd\u00ebrkaq, ai e humbet dhunsh\u00ebm toruan kur n\u00eb p\u00ebrpjekje e sip\u00ebr, ajo e krahason at\u00eb me t\u00eb dashurin aktual, duke l\u00ebvduar aft\u00ebsin\u00eb mashkullore t\u00eb k\u00ebtij t\u00eb fundit p\u00ebr ta qir\u00eb at\u00eb. Kur bashkohen rishtas, pas nj\u00eb ndarje t\u00eb gjat\u00eb t\u00eb radh\u00ebs, t\u00eb dy kujdesen ta pyesin nj\u00ebri-tjetrin n\u00ebse jan\u00eb me ndok\u00ebnd. P\u00ebrgjigjja \u00ebsht\u00eb gjithmon\u00eb pozitive por ajo nuk i pengon asnj\u00ebher\u00eb ata q\u00eb t\u00eb flen\u00eb s\u00eb bashku. Madje, nj\u00ebfar\u00ebsoj, prania e t\u00eb tret\u00ebve ua ri-intensifikon dashurin\u00eb, nj\u00eblloj si Paolos dhe Fran\u00e7esk\u00ebs n\u00eb rrethin e dyt\u00eb dantesk.<\/p>\n

Pasioni i tyre shfaqet m\u00eb s\u00eb miri n\u00eb sken\u00ebn kur t\u00eb dy jan\u00eb duke k\u00ebrcyer krah\u00ebqaf\u00eb n\u00eb klub. Ky \u00e7ast kulmor ka aft\u00ebsin\u00eb ta shkrumboj\u00eb epok\u00ebn e akullt q\u00eb kaploi nj\u00eb pjes\u00eb t\u00eb r\u00ebnd\u00ebsishme t\u00eb shekullit t\u00eb XX n\u00eb Evrop\u00eb. Moskok\u00eb\u00e7arja e k\u00ebtij \u00e7asti, n\u00eb arrati, n\u00ebn dehjen e muzik\u00ebs dhe ngaz\u00ebllimin e atyp\u00ebratysh\u00ebm i p\u00ebrngjan ndjenjave t\u00eb qashtra t\u00eb \u00e7do f\u00ebmije.<\/p>\n

Shk\u00ebmbimi i vazhduesh\u00ebm i v\u00ebshtrimeve mes Viktorit dhe Zul\u00ebs gjat\u00eb provave; p\u00ebrtej sall\u00ebs s\u00eb bareve, n\u00eb tren rrethuar nga koleg\u00ebt ose gjat\u00eb shfaqjeve rrethuar nga e gjith\u00eb bota, p\u00ebrb\u00ebn nj\u00eb tjet\u00ebr element t\u00eb q\u00eblluar skenik. Stephanie Zacharek, kritikja ky\u00e7e e filmave p\u00ebr revist\u00ebn \u201cTime<\/a>\u201d, shkruan: \u201cKur kufiri mes nj\u00eb vendi dhe tjetrit mund t\u00eb ndryshoj\u00eb brenda nat\u00ebs, ku gjendet sakt\u00ebsisht sht\u00ebpia? Viktori dhe Zula e gjejn\u00eb dhe humbin at\u00eb, rishtas, n\u00eb syt\u00eb e nj\u00ebri-tjetrit. V\u00ebshtrimi i tyre b\u00ebhet edhe vend i yni.<\/em>\u201d slogans<\/p>\n

N\u00eb rreshtat e par\u00eb t\u00eb kritik\u00ebs s\u00eb saj rreth kryevepr\u00ebs s\u00eb Pavlikovskit, ajo mb\u00ebrrin n\u00eb p\u00ebrfundimin se: \u201c\u00c7do lidhje dashurie k\u00ebrkon nj\u00eb shkelje kufiri. Personi q\u00eb njihni n\u00eb nj\u00eb bar t\u00eb mbushur plot apo n\u00eb nj\u00eb dark\u00eb t\u00eb rast\u00ebsishme ose n\u00eb nj\u00eb aplikacion lidhjesh, p\u00ebrb\u00ebn nj\u00eb shtet m\u00eb vete, nj\u00eb vend ndoshta t\u00eb bukur p\u00ebr t\u2019u vizituar por a d\u00ebshironi v\u00ebrtet\u00eb t\u00eb banoni aty? P\u00ebr ta zbuluar k\u00ebt\u00eb \u00ebsht\u00eb e nevojshme t\u00eb b\u00ebjm\u00eb nj\u00eb p\u00ebr\u00e7apje jasht\u00eb territorit ton\u00eb. Pask\u00ebtaj, t\u00eb biesh n\u00eb dashuri do t\u00eb thot\u00eb t\u2019i mjegullosh kufijt\u00eb e hart\u00ebs personale. Ku p\u00ebrfundon vendi yt dhe ku fillon ai i t\u00eb dashurit t\u00ebnd? Shkrirja e kufijve dhe nd\u00ebrtimi i nj\u00eb sht\u00ebpie mu n\u00eb mes mund t\u00eb jet\u00eb e k\u00ebndshme por njer\u00ebzit sikurse shtetet q\u00ebllon t\u00eb jen\u00eb kok\u00ebfort\u00eb dhe t\u00eb pamenaxhuesh\u00ebm. Kur dy njer\u00ebz d\u00ebshtojn\u00eb ta shquajn\u00eb nj\u00ebri-tjetrin, atyre u duhet t\u2019i rip\u00ebrcaktojn\u00eb kufijt\u00eb rreth tyre, p\u00ebr t\u00eb rigjetur at\u00eb q\u00eb kan\u00eb humbur. E ndonj\u00ebher\u00eb, kur dikush na l\u00ebndon tejmase, ne detyrohemi t\u00eb nd\u00ebrtojm\u00eb nj\u00eb mur rreth vetes, duke u ndalur nj\u00eb \u00e7ast dhe duke u shnd\u00ebrruar k\u00ebsisoj prap\u00eb n\u00eb nj\u00eb komb m\u00eb vete.<\/em>\u201d slogans<\/p>\n

\u201cLufta e Ftoht\u00eb\u201d p\u00ebrshkruan jo vet\u00ebm kontekstin e hekurt t\u00eb Polonis\u00eb mes viteve 1950-1964, por at\u00eb t\u00eb t\u00eb gjith\u00eb bllokut lindor gjat\u00eb k\u00ebsaj periudhe historike. N\u00ebn diktatur\u00ebn e Enver Hoxh\u00ebs, Shqip\u00ebria u shnd\u00ebrrua gjithashtu n\u00eb nj\u00eb qeli m\u00eb vete, ku n\u00ebn propagand\u00ebn staliniste dhe izolimin total q\u00eb pasoi m\u00eb von\u00eb, gjat\u00eb viteve \u201880, dashuria mes shum\u00eb syresh e gjeti shtegun e saj n\u00eb rrugicat e pandri\u00e7uara socialiste, qoshkat e kooperativave apo korridoret e universiteteve. N\u00eb t\u00eb nj\u00ebjtat hap\u00ebsira e gjeti shtegun edhe abuzimi, q\u00eb Pavlikovski kujdeset t\u00eb mos e l\u00ebr\u00eb pa p\u00ebrmendur n\u00eb film, p\u00ebr shembull kur Zula denoncon te Viktori Ka\u00e7marekun, aparat\u00e7ikun q\u00eb p\u00ebrpos se i b\u00ebnte presion q\u00eb ajo t\u00eb spiunonte koleg\u00ebt e saj, gjithashtu e ngacmonte seksualisht, nj\u00eb realitet q\u00eb mund t\u00eb ting\u00eblloj\u00eb i njohur p\u00ebr shum\u00ebkund q\u00eb i ngrysi dit\u00ebt n\u00eb nj\u00eb regjim t\u00eb ngjash\u00ebm.<\/p>\n

\u00a0 \u00a0 \u00a0\"Image\"<\/div>\n

Vlen t\u00eb p\u00ebrmendet se t\u00eb gjith\u00eb personazhet fem\u00ebror\u00eb n\u00eb film jan\u00eb nd\u00ebrtuar n\u00eb m\u00ebnyr\u00eb t\u00eb drejt\u00eb. K\u00ebto gra jan\u00eb inteligjente, t\u00eb forta, t\u00eb guximshme dhe t\u00eb pavarura, pavar\u00ebsisht rrethanave. Ato jan\u00eb t\u00eb zonjat e vetes dhe shpesh edhe t\u00eb t\u00eb tjer\u00ebve (Viktori i shp\u00ebton burgut vet\u00ebm fal\u00eb Zul\u00ebs). Madje e gjith\u00eb ngarkesa sociale riprodhohet mbi shpin\u00ebn e tyre.<\/p>\n

P\u00ebrfundimi i filmit \u00ebsht\u00eb morbid. Ai e gjunj\u00ebzon papritur audienc\u00ebn: Zula dhe Viktori m\u00eb n\u00eb fund zgjedhin t\u00eb largohen p\u00ebrgjithmon\u00eb, k\u00ebsaj here jo m\u00eb duke shkelur kufirin polak, por at\u00eb t\u00eb lidhjes s\u00eb tyre n\u00ebn totalitariz\u00ebm. Ata i premtojn\u00eb dashuri t\u00eb p\u00ebrjetshme nj\u00ebri-tjetrit, p\u00ebrpara nj\u00eb Zoti t\u00eb munguar, n\u00eb nj\u00eb kish\u00eb t\u00eb braktisur, me t\u00eb vetmit d\u00ebshmitar\u00eb nj\u00ebri-tjetrin. Pasi kryq\u00ebzojn\u00eb zemrat n\u00eb lutje, t\u00eb dy g\u00eblltisin pilula cianidi. Kjo tentativ\u00eb p\u00ebr vet\u00ebvrasje mund t\u00eb lexohet metaforikisht. Fundja, si mund t\u00eb zhvillohet dashuria n\u00eb munges\u00eb t\u00eb liris\u00eb? N\u00eb terma afatgjat\u00eb, diktatura e vret dashurin\u00eb. Nd\u00ebrsa pasioni mund t\u00eb zgjas\u00eb p\u00ebrkoh\u00ebsisht, dashuria k\u00ebrkon t\u00eb m\u00ebkohet n\u00eb m\u00ebnyr\u00eb t\u00eb vazhdueshme e p\u00ebr k\u00ebt\u00eb nevojiten kushtet e favorshme ose m\u00ebnyra e vetme e mbijetes\u00ebs s\u00eb dashuris\u00eb mbetet p\u00ebrpjekja radikale p\u00ebr t\u00eb transformuar gjith\u00e7ka p\u00ebrreth. T\u00eb till\u00eb fuqi, Viktori dhe Zula nuk e kan\u00eb n\u00eb realitet.<\/p>\n

Megjith\u00ebk\u00ebt\u00eb, ata e pat\u00ebn mund\u00ebsin\u00eb q\u00eb ta jetonin dashurin\u00eb e tyre diku tjet\u00ebr, me kushtin q\u00eb t\u2019i p\u00ebrshtateshin nj\u00eb mjedisi t\u00eb ri dhe t\u00eb rikrijonin vetveten n\u00eb t\u00eb. Por n\u00eb procesin e rikrijimit t\u00eb vetvetes atyre s\u00eb pari u duhej q\u00eb ta humbisnin vetveten. \u00c7far\u00eb do t\u00eb mbetej e pandryshuar n\u00eb procesin e tyre t\u00eb ndryshimit, ve\u00e7an\u00ebrisht kur ndryshimi ishte konstantja e tyre? \u201cCold War\u201d nxit nj\u00eb diskutim filozofik p\u00ebr dashurin\u00eb, lirin\u00eb dhe m\u00ebnyr\u00ebn sesi perceptohen marr\u00ebdh\u00ebniet n\u00eb koh\u00eb dhe hap\u00ebsir\u00eb t\u00eb ndryshme; pas hekurave apo n\u00ebn qiellin e kalt\u00ebr… Ky \u00ebsht\u00eb nj\u00eb film artistik q\u00eb na fton p\u00ebr t\u00eb dekonstruktuar t\u00eb shkuar\u00ebn dhe analizuar n\u00eb m\u00ebnyr\u00eb kritike t\u00eb tashmen, duke mos e marr\u00eb p\u00ebr t\u00eb mir\u00ebqen\u00eb bot\u00ebn ku p\u00ebrkasim dhe nj\u00ebri-tjetrin.<\/p>\n

In\u00a0English<\/a><\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Kritik\u00eb mbi filmin “Cold War” \u201cCold War\u201d nxit nj\u00eb diskutim filozofik p\u00ebr dashurin\u00eb, lirin\u00eb dhe m\u00ebnyr\u00ebn sesi perceptohen marr\u00ebdh\u00ebniet n\u00eb koh\u00eb dhe hap\u00ebsir\u00eb t\u00eb ndryshme; pas hekurave apo n\u00ebn qiellin e kalt\u00ebr… Ky \u00ebsht\u00eb nj\u00eb film artistik q\u00eb na fton p\u00ebr t\u00eb dekonstruktuar t\u00eb shkuar\u00ebn dhe analizuar n\u00eb m\u00ebnyr\u00eb kritike t\u00eb tashmen, duke mos e […]<\/p>","protected":false},"author":222,"featured_media":2154,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,695,890],"ppma_author":[233],"class_list":["post-2153","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-philosophy","tag-relationships"],"authors":[{"term_id":233,"user_id":222,"is_guest":0,"slug":"gresa-hasa","display_name":"Gresa Hasa","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-17-3.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-17-3.jpg"},"user_url":"","last_name":"Hasa","first_name":"Gresa","description":"Gresa Hasa \u00ebsht\u00eb bashk\u00ebthemeluese dhe kryeredaktore e revist\u00ebs \u201cShota\u201d. Ajo ka studiuar \"Shkenca Politike\" n\u00eb Universitetin e Tiran\u00ebs dhe prej vitesh \u00ebsht\u00eb angazhuar n\u00eb \u00e7\u00ebshtjet gjinore, organizimin studentor dhe at\u00eb sindikal n\u00eb Shqip\u00ebri. Nj\u00ebkoh\u00ebsisht, Gresa kontribuon n\u00eb m\u00ebnyr\u00eb t\u00eb rregullt, si publiciste e pavarur n\u00eb fush\u00ebn politike, shoq\u00ebrore dhe kulturore, n\u00eb nj\u00eb s\u00ebr\u00eb mediash, brenda dhe jasht\u00eb vendit. Gjithashtu, ajo \u00ebsht\u00eb angazhuar me p\u00ebrkthimin e nj\u00eb s\u00ebr\u00eb teksteve t\u00eb natyr\u00ebs politike, publicistike, kulturore dhe teori feministe."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2153","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\/222"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=2153"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2153\/revisions"}],"predecessor-version":[{"id":2155,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2153\/revisions\/2155"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/2154"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=2153"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=2153"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=2153"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=2153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}