{"id":2179,"date":"2022-04-26T10:26:20","date_gmt":"2022-04-26T09:26:20","guid":{"rendered":"https:\/\/sbunker.org\/?p=2179"},"modified":"2023-12-13T10:27:41","modified_gmt":"2023-12-13T09:27:41","slug":"martesa-historia-e-nje-trekendeshi-dashurie","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/martesa-historia-e-nje-trekendeshi-dashurie\/","title":{"rendered":"Martesa: historia e nj\u00eb trek\u00ebnd\u00ebshi dashurie"},"content":{"rendered":"<p>Q\u00ebkur kam dashur t\u00eb shkruaj p\u00ebr filmin e Blert\u00ebs Zeqirit,\u00a0<em>Martesa\u00a0<\/em>(2017), dhe tani q\u00eb filmi u shfaq gjat\u00eb jav\u00ebs s\u00eb kultur\u00ebs bashk\u00ebkohore kosovare te\u00a0<a href=\"https:\/\/tulla.tv\/\" target=\"_blank\" rel=\"noopener\">Tulla<\/a>\u00a0n\u00eb Tiran\u00eb mendova se \u00ebsht\u00eb momenti i duhur. B\u00ebhet fjal\u00eb p\u00ebr dram\u00ebn e nj\u00eb\u00a0<em>trek\u00ebnd\u00ebshi dashurie<\/em>\u00a0t\u00eb luajtur nga Adriana Matoshi (Anita), Alban Ukaj (Bekimi) dhe Genc Salihu (Noli). Anita dhe Bekimi jan\u00eb nj\u00eb \u00e7ift n\u00eb p\u00ebrgatitje t\u00eb dasm\u00ebs s\u00eb tyre kur Noli, shoku i Bekimit, kthehet nga Franca krejt papritur p\u00ebr t\u00eb krijuar turbullime n\u00eb marr\u00ebdh\u00ebniet e \u00e7iftit.<\/p>\n<p>E gjith\u00eb historia zhvillohet me traum\u00ebn e luft\u00ebs n\u00eb prapavij\u00eb: regjisorja Blerta Zeqiri ka vendosur t\u00eb hap\u00eb filmin me nj\u00eb sken\u00eb ku njer\u00ebzit presin trupat e zhvarrosur t\u00eb t\u00eb dashurve q\u00eb humb\u00ebn vite m\u00eb par\u00eb. Kjo sken\u00eb sh\u00ebrben pik\u00ebrisht p\u00ebr t\u00eb na kujtuar se, n\u00eb jet\u00ebn e p\u00ebrditshme, tragjedia e luft\u00ebs \u00ebsht\u00eb vazhdimisht e pranishme, duke p\u00ebrcaktuar \u00e7do moment t\u00eb madh apo t\u00eb vog\u00ebl t\u00eb jet\u00ebs: njer\u00ebzit dashurohen, fejohen, martohen, argumentojn\u00eb dhe ndahen, vazhdojn\u00eb jet\u00ebt e tyre, han\u00eb dark\u00eb me t\u00eb af\u00ebrmit, gjithmon\u00eb me k\u00ebt\u00eb gjemb n\u00eb zem\u00ebr q\u00eb asgj\u00eb nuk mund ta tres\u00eb \u2013\u00a0 v\u00ebshtrimi i gjat\u00eb i Anit\u00ebs kah rruga ku pritet t\u00eb arrijn\u00eb trupat tregon pik\u00ebrisht nevoj\u00ebn personale dhe shoq\u00ebrore p\u00ebr ta mbyllur k\u00ebt\u00eb kapitull, sakaq n\u00eb fytyr\u00ebn e Adrian\u00ebs shk\u00eblqen drita e shpres\u00ebs q\u00eb nuk shuhet kurr\u00eb.<\/p>\n<p>N\u00eb p\u00ebrgjith\u00ebsi filmi \u00ebsht\u00eb xhiruar n\u00eb stil dokumentari dhe dialog\u00ebt jan\u00eb t\u00eb thjesht\u00eb dhe t\u00eb kthjell\u00ebt. Stili i kamer\u00ebs n\u00eb \u00e7do sken\u00eb, qoft\u00eb nj\u00eb sken\u00eb plot emocione ose nj\u00eb sken\u00eb e r\u00ebndomt\u00eb, ndihet natyral dhe spontan, duke ndjekur detajet e vogla dhe gjestet e thjeshta: skena ku Anita provon fustanin e nuses, skena ku Noli dhe Bekimi duke qen\u00eb n\u00eb fillim t\u00eb njohjes s\u00eb tyre lozin videoloj\u00ebra s\u00eb bashku dhe skena e dark\u00ebs ku Bekimi dhe Anita jan\u00eb n\u00eb tavolin\u00eb me t\u00eb af\u00ebrmit e Bekimit. Kamera i afrohet aq pran\u00eb sa na b\u00ebn pothuajse ta ndiejm\u00eb dor\u00ebn e Anit\u00ebs mbi jak\u00ebn e fustanit, apo dor\u00ebn e Nolit mbi supet e Bekimit, apo ta shijojm\u00eb dark\u00ebn q\u00eb Zana ua sh\u00ebrben t\u00eb gjith\u00ebve.<\/p>\n<p>M\u00eb kujtohet s\u00eb n\u00eb\u00a0<em>review<\/em>\u00a0e\u00a0<a href=\"https:\/\/www.hollywoodreporter.com\/movies\/movie-reviews\/marriage-1167266\/\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter<\/a>-it p\u00ebr filmin, thuhet se ajo skena e dark\u00ebs \u00ebsht\u00eb e lodhshme, sepse asgj\u00eb nuk ndodh dhe t\u00eb gjith\u00eb i thon\u00eb nj\u00ebri-tjetrit se sa shum\u00eb duhet t\u00eb han\u00eb. P\u00ebr ata q\u00eb nuk jan\u00eb t\u00eb njohur me traditat apo zakonet tona, edhe mund t\u00eb duket e lodhshme. Por ne e dim\u00eb se ky n\u00eb fakt \u00ebsht\u00eb nj\u00eb realitet p\u00ebr shqiptar\u00ebt. Ajo sken\u00eb ka aq shum\u00eb kuptim sa \u00e7do sken\u00eb tjet\u00ebr, sepse pa dialog t\u00eb strukturuar tregon se si p\u00ebr shembull gruaja \u00ebsht\u00eb n\u00eb k\u00ebmb\u00eb duke u sh\u00ebrbyer t\u00eb gjith\u00ebve n\u00eb tavolin\u00eb si\u00e7 \u00ebsht\u00eb zakoni n\u00eb vendin ton\u00eb; se si i mir\u00ebpresim t\u00eb ftuarit dhe si mund t\u2019i bezdisim ata duke k\u00ebmb\u00ebngulur t\u00eb han\u00eb dhe pak. Gjithsesi, jo t\u00eb gjith\u00eb\u00a0 mund t\u00eb vler\u00ebsojn\u00eb detaje t\u00eb vogla si kjo, sepse v\u00ebrtet arti i filmit \u00ebsht\u00eb nj\u00eb gjuh\u00eb universale, por pa njohurin\u00eb e kultur\u00ebs ton\u00eb kjo gjuh\u00eb shpeshher\u00eb \u00ebsht\u00eb e pakuptueshme p\u00ebr disa audienca.<\/p>\n<p>Sido q\u00eb t\u00eb jet\u00eb, mund t\u00eb vler\u00ebsojm\u00eb sinqeritetin me t\u00eb cilin trajtohet nj\u00eb tem\u00eb kaq komplekse dhe e kund\u00ebrshtueshme si biseksualiteti. Bekimi \u00ebsht\u00eb nj\u00eb personazh tragjik bashk\u00ebkohor, i hutuar dhe i humbur midis nevoj\u00ebs s\u00eb tij p\u00ebr t\u00eb ndjekur orientimin e tij seksual q\u00eb ende \u00ebsht\u00eb nj\u00eb tabu n\u00eb shoq\u00ebrin\u00eb ton\u00eb, dhe detyr\u00ebs s\u00eb tij p\u00ebr t\u2019i ndjekur normat shoq\u00ebrore t\u00eb heteroseksualitetit. Ky personazh u flet shum\u00eb individeve me nj\u00eb orientim seksual tjet\u00ebr nga ai q\u00eb konsiderohet si \u2018norm\u00eb\u2019. Pra, personazhi i tij bart n\u00eb m\u00ebnyr\u00eb metaforike gjith\u00eb presionin shoq\u00ebror ndaj individit biseksual, gj\u00eb q\u00eb shpjegon dhe p\u00ebrcakton edhe sjelljen e tij t\u00eb p\u00ebrmbajtur dhe t\u00eb rezervuar q\u00eb \u00ebsht\u00eb n\u00eb kontradikt\u00eb t\u00eb plot\u00eb me sjelljen e Nolit, i cili tregohet m\u00eb i pasionuar dhe i gatsh\u00ebm t\u00eb veproj\u00eb sipas asaj q\u00eb i dikton zemra.<\/p>\n<p>Genc Salihu i p\u00ebrkushtohet dhe i jep shum\u00eb personalitet rolit t\u00eb tij duke p\u00ebrjetuar dram\u00ebn e brendshme me nj\u00eb intensitet t\u00eb guximsh\u00ebm dhe t\u00eb admiruesh\u00ebm dhe kjo ndoshta e b\u00ebn at\u00eb t\u00eb vetmin personazh mjaft t\u00eb kompletuar, nd\u00ebrsa personazhet e tjera q\u00eb rrethojn\u00eb Bekimin, Anit\u00ebn, dhe Nolin jan\u00eb t\u00eb shesht\u00eb. Sa p\u00ebr Bekimin, ai ende ngelet nj\u00eb figur\u00eb ose shum\u00eb komplekse p\u00ebr t\u2019u portretizuar, ose tep\u00ebr e v\u00ebshtir\u00eb p\u00ebr ta deshifruar, dhe stili monoton i Alban Ukajt nuk ndihmon p\u00ebr t\u2019iu afruar, sepse duket sikur ai nuk i jep n\u00eb plotni veten personazhit t\u00eb tij. \u00a0N\u00eb fakt, Bekimi dhe Noli p\u00ebrjetojn\u00eb dram\u00ebn e situat\u00ebs s\u00eb tyre n\u00eb m\u00ebnyr\u00eb krejt t\u00eb ndryshme \u2013 mbase kjo nd\u00ebrlidhet me ambientin shoq\u00ebror q\u00eb rrethon dy personazhet: nj\u00ebri jeton n\u00eb nj\u00eb vend evropian, tjetri n\u00eb nj\u00eb vend ballkanik.<\/p>\n<p>Skena ku ata t\u00eb dy jan\u00eb n\u00eb momente intime \u00ebsht\u00eb e bukur dhe prek\u00ebse, sepse \u00ebsht\u00eb nj\u00eb prelud p\u00ebr fatin e marr\u00ebdh\u00ebnies s\u00eb tyre. Dhe \u00ebsht\u00eb p\u00ebrdorur n\u00eb ngjashm\u00ebri absolute me sken\u00ebn intime t\u00eb Bekimit me Anit\u00ebn, mbase duke shpresuar t\u00eb tregoj\u00eb bukurin\u00eb e dashuris\u00eb n\u00eb t\u00eb gjitha format e saj \u2013 k\u00ebtu vlen t\u00eb thuhet se filmi trajton dy \u00e7iftet me nj\u00eb v\u00ebmendje t\u00eb barabart\u00eb, na jep\u00a0<em>flashbacks<\/em>\u00a0p\u00ebr t\u00eb na treguar prapavij\u00ebn e tyre dhe jep mund\u00ebsin\u00eb t\u00eb na tregojn\u00eb fytyrat e tyre n\u00eb momente personale. Por, fatkeq\u00ebsisht, Bekimi arin n\u00eb prag t\u00eb t\u00eb qen\u00ebt g\u00ebnjeshtar, mashtrues, e jobesnik dhe kjo e d\u00ebmton balanc\u00ebn q\u00eb regjia p\u00ebrpiqet t\u00eb mbaj\u00eb midis t\u00eb qen\u00ebt njeri i drejt\u00eb dhe njeri i v\u00ebrtet\u00eb me vetveten.<\/p>\n<p>Anita gradualisht zbehet nga historia, n\u00eb m\u00ebnyr\u00eb q\u00eb marr\u00ebdh\u00ebnia e dy djemve t\u00eb zhvillohet aq sa t\u2019u jap\u00eb personazheve thell\u00ebsi p\u00ebr t\u2019i kuptuar m\u00eb mir\u00eb. Fleshbek (flashback) \u00ebsht\u00eb nj\u00eb mjet i dobish\u00ebm n\u00eb k\u00ebt\u00eb aspekt, por n\u00eb rastin e par\u00eb q\u00eb u p\u00ebrdor, kalimi nga koha digetike (koha e historis\u00eb) n\u00eb koh\u00ebn e fleshbekut ngjau krejt papritur, pa shenja. Vet\u00ebm kur d\u00ebgjojm\u00eb emrin e Anit\u00ebs, e cila tani \u00ebsht\u00eb nj\u00eb vajz\u00eb e re, e kuptojm\u00eb se kjo \u00ebsht\u00eb nj\u00eb koh\u00eb tjet\u00ebr n\u00eb tregimin t\u00eb historis\u00eb. Gjithashtu, edhe aktrimi i dy aktoreve qe amatoresk. Shohim nj\u00eb Anit\u00eb n\u00eb mosh\u00ebn e re, e cila pi duhanin fshehurazi, dhe kur e \u00ebma e gjen n\u00eb dhom\u00eb, e v\u00ebren. Por, dialogu i tyre nuk ndihet aspak natyral.<\/p>\n<p>T\u00eb kthehemi p\u00ebrs\u00ebri te Bekimi, ndoshta instiktivisht e falim p\u00ebr sjelljen e tij t\u00eb pandershme gjat\u00eb filmit, edhe pse p\u00ebrfundimisht ai vendos t\u00eb b\u00ebj\u00eb \u2018t\u00eb drejt\u00ebn\u2019 sipas kushteve t\u00eb vendit dhe koh\u00ebs, duke e tradhtuar k\u00ebshtu edhe Nolin, edhe ndjenjat e tij t\u00eb v\u00ebrteta. Filmi p\u00ebrfundon me ndarjen e dy djemve, jo me martes\u00ebn e Bekimit dhe Anit\u00ebs \u2013 gj\u00eb q\u00eb sugjeron n\u00eb m\u00ebnyr\u00eb implicite se n\u00eb nj\u00eb shoq\u00ebri ku imponohet nj\u00eb norm\u00eb e vetme marr\u00ebdh\u00ebniesh seksuale, nuk ka fund t\u00eb lumtur p\u00ebr ask\u00ebnd. Dhe k\u00ebtu q\u00ebndron mesazhi qendror i filmit: si mund t\u00eb ecin p\u00ebrpara shoq\u00ebrit\u00eb moderne \u2013 dhe Kosova p\u00ebrpiqet t\u00eb jet\u00eb nj\u00eb shoq\u00ebri e till\u00eb \u2013 duke qen\u00eb ende t\u00eb zhytura n\u00eb tradita shekullore e t\u00eb kapura me kok\u00ebfort\u00ebsi pas tyre?<\/p>","protected":false},"excerpt":{"rendered":"<p>Q\u00ebkur kam dashur t\u00eb shkruaj p\u00ebr filmin e Blert\u00ebs Zeqirit,\u00a0Martesa\u00a0(2017), dhe tani q\u00eb filmi u shfaq gjat\u00eb jav\u00ebs s\u00eb kultur\u00ebs bashk\u00ebkohore kosovare te\u00a0Tulla\u00a0n\u00eb Tiran\u00eb mendova se \u00ebsht\u00eb momenti i duhur. B\u00ebhet fjal\u00eb p\u00ebr dram\u00ebn e nj\u00eb\u00a0trek\u00ebnd\u00ebshi dashurie\u00a0t\u00eb luajtur nga Adriana Matoshi (Anita), Alban Ukaj (Bekimi) dhe Genc Salihu (Noli). Anita dhe Bekimi jan\u00eb nj\u00eb \u00e7ift [&hellip;]<\/p>","protected":false},"author":414,"featured_media":2180,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,664,765,890],"ppma_author":[773],"class_list":["post-2179","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-kosovo","tag-lgbtq","tag-relationships"],"authors":[{"term_id":773,"user_id":414,"is_guest":0,"slug":"fjoralba-miraka","display_name":"Fjoralba Miraka","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/11\/Fjoralba1575446931.jpg"},"user_url":"","last_name":"Miraka","first_name":"Fjoralba","description":"Fjoralba Miraka \u00ebsht\u00eb nj\u00eb studjuese e filmit t\u00eb Hollivudit n\u00eb vitet e Rilindjes (n\u00eb fund t\u00eb viteve 1960 \u2013 mesi i viteve 1970)  n\u00eb Fakultetin e Medias, Gjuh\u00ebs, dhe Kultur\u00ebs t\u00eb Universitetit Roehampton n\u00eb Lond\u00ebr. Ajo mban nj\u00eb Master n\u00eb Let\u00ebrsin\u00eb dhe Kultur\u00ebn Amerikane si dhe nj\u00eb Bachelor n\u00eb Gjuh\u00ebn Angleze, t\u00eb dy dimploma nga Universiteti Aristotel i Selanikut, Greqi. N\u00eb 2021 studimi i saj The Great Shift in Hollywood Cinema: Men, Women, and Genre Revisionism of the American New Wave u botua nga sht\u00ebpia botuese Bloomsbury Academic, kurse n\u00eb 2020 kapitulli i saj Historia e Teoris\u00eb Feministe s\u00eb Filmit u botua n\u00eb  Enciklopedin\u00eb e par\u00eb Nd\u00ebrkomb\u00ebtare t\u00eb Gjinis\u00eb, Medias, dhe Komunikimit nga Wiley Blackwell. N\u00eb 2019 studimi i saj Gender, Genre, and Class Politics in Barbara Loden\u2019s Wanda (1970) u botua n\u00eb portali akademic MAI: Feminism and Visual Culture (https:\/\/maifeminism.com\/gender-genre-and-class-politics-in-barbara-lodens-wanda-1970\/). Studimi i saj i par\u00eb Performing Otherness for the Monstrous Gaze: Racial and Sexual Fantasies in the Allegoric Orgies of Venus Noir and Black Swan  u botua n\u00eb 2014 (https:\/\/brill.com\/view\/book\/edcoll\/9781848884076\/BP000020.xml?lang=en). Gjithashtu, ajo ka p\u00ebrkthyer n\u00eb gjuh\u00ebn angleze kujtime t\u00eb regjisor\u00ebs Xhanfize Keko dhe t\u00eb protagonist\u00ebve t\u00eb filmave Beni ec\u00ebn vet\u00eb (botuar n\u00eb 2020) dhe Mimoza Llastica (botuar n\u00eb 2021). Pasioni i saj \u00ebsht\u00eb puna dhe jeta e regjizores Xhanfize Keko. P\u00ebrve\u00e7 pun\u00ebs dhe studimeve, ajo \u00ebsht\u00eb edhe n\u00ebn\u00eb e p\u00ebrkushtuar n\u00eb dy f\u00ebmij\u00ebt t\u00eb saj (lindur n\u00eb 2019 &amp; 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2179","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\/414"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=2179"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2179\/revisions"}],"predecessor-version":[{"id":2181,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2179\/revisions\/2181"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/2180"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=2179"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=2179"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=2179"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=2179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}