{"id":2306,"date":"2021-12-07T11:21:30","date_gmt":"2021-12-07T10:21:30","guid":{"rendered":"https:\/\/sbunker.org\/?p=2306"},"modified":"2023-12-15T11:25:29","modified_gmt":"2023-12-15T10:25:29","slug":"ne-kerkim-te-veneres-dhe-drama-cerebrale","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/ne-kerkim-te-veneres-dhe-drama-cerebrale\/","title":{"rendered":"N\u00eb k\u00ebrkim t\u00eb Vener\u00ebs dhe drama cerebrale"},"content":{"rendered":"

U ul\u00ebm diku af\u00ebr sall\u00ebs Stavros Tornes, ku do t\u00eb shfaqej filmi i saj \u201cN\u00eb k\u00ebrkim t\u00eb Vener\u00ebs\u201d, mbr\u00ebmjen e 9 n\u00ebntorit n\u00eb Festivalin e Selanikut. Aty pim\u00eb nga nj\u00eb got\u00eb ver\u00eb, duke diskutuar p\u00ebr t\u00eb dhe filmin e saj. Shkuam bashk\u00eb tek amfiteatri dhe s\u00eb shpejti titulli u shfaq n\u00eb ekranin e madh. Nga minutat e para e kuptova: ky nuk \u00ebsht\u00eb thjesht nj\u00eb film, \u00ebsht\u00eb nj\u00eb dram\u00eb cerebrale me nj\u00eb gam\u00eb t\u00eb gjer\u00eb estetike, dhe k\u00ebrkon v\u00ebmendje t\u00eb ve\u00e7ant\u00eb, si\u00e7 \u00ebsht\u00eb gjithmon\u00eb rasti kur b\u00ebhet fjal\u00eb p\u00ebr nj\u00eb\u00a0art film<\/em>.\u00a0Filmat q\u00eb i p\u00ebrkasin k\u00ebtij zhanri shpeshher\u00eb kan\u00eb nj\u00eb reputacion sikur jan\u00eb tep\u00ebr t\u00eb gjat\u00eb dhe me pak substanc\u00eb. Kjo ndodh sepse ata sfidojn\u00eb m\u00ebnyr\u00ebn konvencionale se si tregohet nj\u00eb histori te publiku, dhe p\u00ebrkundrazi k\u00ebrkojn\u00eb q\u00eb shikuesit t\u00eb p\u00ebrpiqen t\u00eb gjejn\u00eb vet\u00eb mesazhet e filmit, dhe fatkeq\u00ebsisht mazhoranca e publikut ndihen m\u00eb rehat me filma mainstream.<\/p>\n

Ata k\u00ebrkojn\u00eb\u00a0p\u00ebrkushtim nga ana e kineastit p\u00ebr t\u00eb b\u00ebr\u00eb zgjidhje ky\u00e7e n\u00eb lidhje me mizenskan\u00ebn, komplotin dhe zhvillimin e personazheve, sepse ata kan\u00eb nj\u00eb stil vizual t\u00eb ve\u00e7ant\u00eb – ata\u00a0duken\u00a0<\/em>ndryshe nga ajo me t\u00eb cil\u00ebn \u00ebsht\u00eb m\u00ebsuar syri i shikuesit mesatar me filmat mainstream; andaj, ata k\u00ebrkojn\u00eb dhe\u00a0nj\u00eb publik m\u00eb t\u00eb sofistikuar q\u00eb ka kapacitetin p\u00ebr t\u2019i vler\u00ebsuar ato atribute q\u00eb b\u00ebjn\u00eb nj\u00eb film art-film: struktura episodike e tregimit pa nj\u00eb zgjidhje t\u00eb qart\u00eb n\u00eb fund,\u00a0pra nj\u00eb histori q\u00eb p\u00ebrb\u00ebhet nga nj\u00eb varg episodesh m\u00eb vete; p\u00ebrdorim aktor\u00ebsh joprofesionist\u00eb; personazhe t\u00eb zhytura n\u00eb mendime; mizanskena t\u00eb thjeshta t\u00eb pap\u00ebrpunuara apo pasuruara.<\/p>\n

Duke ndjekur sekuenc\u00ebn e par\u00eb m\u2019u kujtua \u00e7far\u00eb tha Camille Paglia me nj\u00eb ton pesimist (si gjithmon\u00eb) tek intervista e saj e fundit n\u00eb maj t\u00eb vitit 2020, ku ajo\u00a0sugjeron se mizanskena (Mise-en-sc\u00e8ne) – detajet e sfondit q\u00eb ofrojn\u00eb kontekst social – \u00ebsht\u00eb nj\u00eb art i humbur dhe se\u00a0n\u00eb k\u00ebt\u00eb epok\u00eb… pak kineast\u00eb din\u00eb ta p\u00ebrdorin kamer\u00ebn p\u00ebr t\u00eb krijuar hap\u00ebsir\u00ebn fizike dhe t\u2019u japin personazheve dend\u00ebsi.\u00a0Por Norika Sefa nuk \u00ebsht\u00eb nj\u00eb nga ata kineast\u00eb. Regjisorja e re\u00a0ka zgjedhur\u00a0nj\u00eb zhan\u00ebr filmi q\u00eb sfidon kineman\u00eb mainstream \/ konvencionale dhe q\u00eb shpeshher\u00eb ndoshta fton nj\u00eb q\u00ebndrim shp\u00ebrfill\u00ebs nga ana e publikut – mos harroni se kur filmi i Antonioni-t L’ Avventura u shfaq n\u00eb kineman\u00eb Harbur, e gjith\u00eb salla mbeti bosh brenda gjysm\u00eb ore!<\/p>\n

Me filmin e saj t\u00eb par\u00eb me metrazh t\u00eb gjat\u00eb, ajo q\u00ebndron besnike ndaj ekspresivitetit autorial duke p\u00ebrdorur realizmin p\u00ebr t\u00eb hartuar\u00a0nj\u00eb analiz\u00eb t\u00eb im\u00ebt dhe t\u00eb detajuar mbi rutin\u00ebn e p\u00ebrditshme t\u00eb nj\u00eb vajze adoleshente n\u00eb nj\u00eb fshat t\u00eb vog\u00ebl t\u00eb Kosov\u00ebs, ku jeta \u00ebsht\u00eb e m\u00ebrzitshme dhe mjedisi tradicional mbizot\u00ebrues.\u00a0M\u00eb kujtohet se nj\u00eb rutin\u00eb e till\u00eb –\u00a0a slice of life<\/em>\u00a0– ka qen\u00eb dhe filmi i regjisores Chantal Akerman\u00a0Jeane Dielman<\/em>\u00a0(1975), nj\u00eb tregim shembullor n\u00eb bot\u00ebn e filmit arthouse.<\/p>\n

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Pa melodrama dhe reagime t\u00eb tep\u00ebrta, filmi na tregon orvatjen e vajz\u00ebs n\u00eb k\u00ebrkim t\u00eb vetes s\u00eb saj, mundimin p\u00ebr t\u00eb kuptuar vendin dhe rolin e saj n\u00eb bot\u00eb, duke vrojtuar rrethanat e saj dhe gradualisht m\u00ebson se si t\u00eb kritikoj\u00eb koh\u00ebn, njer\u00ebzit dhe qasjen e tyre ndaj jet\u00ebs e rregullave q\u00eb ata vet\u00eb po mbrojn\u00eb. Filmi nuk ia atribuon fajin askujt n\u00eb ve\u00e7anti, por sugjeron se t\u00eb gjith\u00eb viktimizojn\u00eb dhe jan\u00eb viktima nj\u00ebkoh\u00ebsisht. Venera po p\u00ebrpiqet t\u2019i shmanget k\u00ebtij rrethi vicioz – vicious circle – dhe merr p\u00ebrsip\u00ebr detyr\u00ebn e r\u00ebnd\u00eb t\u00eb rebelimit kund\u00ebr autoritetit. Ajo nuk do b\u00ebhet e \u00ebma e saj, ndaj dhe p\u00ebrfundimisht p\u00ebrballet me t\u00eb atin pa frik\u00eb, duke e b\u00ebr\u00eb t\u00eb qart\u00eb se ajo nuk do vazhdoj\u00eb n\u00eb t\u00eb nj\u00ebjt\u00ebn udh\u00eb si e \u00ebma e saj q\u00eb ka pasur gjithmon\u00eb nj\u00eb q\u00ebndrim ngurrues n\u00eb jet\u00eb.\u00a0 Rebelimi i saj i ‘urt\u00eb’, por gjithashtu edhe i paepur, \u00ebsht\u00eb n\u00eb kontrast t\u00eb plot\u00eb me at\u00eb t\u00eb Dorin\u00ebs, shoqes s\u00eb ngusht\u00eb e cila po i tregon nj\u00eb rrug\u00eb tjet\u00ebr nga ajo n\u00eb t\u00eb cil\u00ebn Venera ka ecur deri tani.<\/p>\n<\/div>\n

Ndoshta filmi p\u00ebrqendrohet pak m\u00eb tep\u00ebr te tema e zgjimit seksual dhe sigurisht mund t\u00eb kishte krijuar nj\u00eb rrjet\u00eb m\u00eb t\u00eb gjer\u00eb shqet\u00ebsimesh me t\u00eb cilat nj\u00eb vajze e re mund t\u00eb p\u00ebrballet – p\u00ebr shembull e ardhmja profesionale, ndoshta zhvillimi i nj\u00eb talenti artistik, ose kurioziteti p\u00ebr t\u00eb njohur bot\u00ebn e jashtme n\u00eb udh\u00ebtime t\u00eb larg\u00ebta, etj. Gjithsesi, Venera e aktores, Kosovare Krasniqi, rezulton n\u00eb nj\u00eb personazh josh\u00ebs dhe p\u00ebrfundimisht t\u00eb sigurt n\u00eb vetvete, nj\u00eb rebel me kauz\u00eb, dhe tharmi i q\u00ebllimeve dhe d\u00ebshirave t\u00eb saja \u00ebsht\u00eb nevoja p\u00ebr t\u00eb jetuar jet\u00ebn e \u00e7liruar nga kufijt\u00eb e rendit shoq\u00ebror dhe normave shoq\u00ebrore.<\/p>\n

Pra, gjith\u00e7ka ka t\u00eb b\u00ebj\u00eb me nd\u00ebrtimin e atmosfer\u00ebs t\u00eb duhur, p\u00ebr ta\u00a0komunikuar k\u00ebt\u00eb mesazh te publiku. Si po tregohet kjo histori<\/em>\u00a0and\u00a0pse po tregohet n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb?<\/em>\u00a0Kur ne shohim nj\u00eb sekuenc\u00eb ku kamera q\u00ebndron n\u00eb nj\u00eb drejtim t\u00eb pap\u00ebrcaktuar nd\u00ebrsa trupat e personazheve hyjn\u00eb dhe dalin jasht\u00eb kuadrit dhe nj\u00ebri trup del para tjetrit, e gjith\u00eb kjo situat\u00eb krijon nj\u00eb gjendje nervozizmi, irritimi dhe padurimi, nj\u00eb atmosfer\u00eb mbyt\u00ebse, nj\u00eb ndjenj\u00eb sikur di\u00e7ka na ngushton dhe kufizon lirin\u00eb a veprimtarin\u00eb ton\u00eb. Jan\u00eb pik\u00ebrisht k\u00ebto ndjenjat e Vener\u00ebs q\u00eb jeton n\u00eb nj\u00eb mjedis t\u00eb varf\u00ebr dhe t\u00eb \u00e7rregullt, n\u00eb nj\u00eb sht\u00ebpi plot me njer\u00ebz dhe\u00a0objekte q\u00eb krijojn\u00eb nj\u00eb rr\u00ebmuj\u00eb n\u00eb syrin e shikuesit. Jan\u00eb k\u00ebto ndjenjat e vajz\u00ebs adoleshente q\u00eb \u00ebsht\u00eb e kufizuar n\u00eb nj\u00eb ambient t\u00eb shkret\u00eb ku asgj\u00eb nuk ndodh dhe gjith\u00e7ka \u00ebsht\u00eb m\u00eb kot, nj\u00eb ambient q\u00eb nuk e mir\u00ebpret natyr\u00ebn e saj kurioze. Dhe si ndryshe mund ta p\u00ebrcjell\u00eb k\u00ebt\u00eb situat\u00eb regjisorja te shikuesit n\u00ebse jo nd\u00ebrmjet teknik\u00ebs t\u00eb kamer\u00ebs dhe m\u00ebnyr\u00ebs se si i vendos trupat e personazheve t\u00eb nd\u00ebrveprojn\u00eb me nj\u00ebri-tjetrin!<\/p>\n

Shikoni se \u00e7far\u00eb ndodh te skena ku Venera p\u00ebrjeton p\u00ebrvoj\u00ebn e saj t\u00eb par\u00eb seksuale. Zakonisht, ky \u00ebsht\u00eb momenti q\u00eb t\u00eb gjitha vajzat e presin n\u00eb \u00e7do film q\u00eb ndjekin, sepse i m\u00ebson se si ta shijojn\u00eb seksin, se si t\u00eb duken t\u00eb bukura nd\u00ebrsa shijojn\u00eb seksin dhe si t\u00eb p\u00ebrqafohen ngusht\u00eb me partnerin pas aktit t\u00eb seksit. Dhe zakonisht skena t\u00eb k\u00ebsaj natyre shoq\u00ebrohen me nj\u00eb muzik\u00eb q\u00eb i p\u00ebrshtatet situat\u00ebs, ose jan\u00eb t\u00eb xhiruara n\u00eb slow motion p\u00ebr efekt sensual, ose ka p\u00ebrdorim close up mbi trupat, l\u00ebvizjet dhe gjestet e personazheve. Por, te Venera ne mund t\u00eb themi se kjo fantazi q\u00eb kinemaja mainstream ka p\u00ebrpunuar prej shum\u00eb kohe thyhet dhe ajo q\u00eb ngelet p\u00ebr shikuesin \u00ebsht\u00eb nj\u00eb vajz\u00eb dhe nj\u00eb djal\u00eb n\u00eb aktin seksual, pa zbukurime dhe g\u00ebnjeshtra. N\u00eb nj\u00eb bot\u00eb ku na m\u00ebsojn\u00eb t\u00eb shtiremi n\u00eb momentin m\u00eb intim t\u00eb natyr\u00ebs njer\u00ebzore, Norika Sefa na tregon nj\u00eb rrug\u00eb tjet\u00ebr, ku \u00ebsht\u00eb OK t\u00eb tregosh se n\u00eb fakt, ky moment intim, nuk \u00ebsht\u00eb gjithmon\u00eb plot fishekzjarr\u00eb dhe muzik\u00eb, nuk t\u00eb krijon gjithmon\u00eb emocione p\u00ebr t\u2019i shprehur me r\u00ebnkime apo psher\u00ebtima seksuale, ndonj\u00ebher\u00eb rr\u00ebshqasim nga jast\u00ebku dhe ndonj\u00ebher\u00eb vishemi dhe largohemi pa shprehur di\u00e7ka m\u00eb tep\u00ebr. And that’s life!<\/p>\n

Nj\u00eb moment tjet\u00ebr, krejt ndryshe nga ky, plot emocione, \u00ebsht\u00eb skena ku Venera kthehet nga nj\u00eb party ku ka q\u00ebndruar von\u00eb dhe e \u00ebma po e pret e zgjuar. Edhe pse dialogu i tyre \u00ebsht\u00eb intensiv, m\u00eb n\u00eb fund Venera arrin t\u2019i zgjoj\u00eb ndjenja q\u00eb ajo ka harruar prej shum\u00eb kohe: t\u00eb buz\u00ebqesh\u00eb, t\u00eb ndihet e gjall\u00eb p\u00ebrs\u00ebri – shikoni se si gjesti me t\u00eb cilin ajo l\u00ebshon flok\u00ebt e saja t\u00eb lira dhe k\u00ebrcen e qeshur, e lir\u00eb, si nj\u00eb Cinderella bashk\u00ebkohore! N\u00ebn\u00eb e bij\u00eb k\u00ebndojn\u00eb dhe k\u00ebrcejn\u00eb n\u00eb ritmin e muzik\u00ebs dhe n\u00eb k\u00ebt\u00eb moment lidhen n\u00eb t\u00eb v\u00ebrtet\u00eb me nj\u00ebra-tjetr\u00ebn. Do t\u00eb ishte v\u00ebrtet nj\u00eb moment shp\u00ebrthyes n\u00ebse do t\u00eb ishte xhiruar me m\u00eb shum\u00eb volum – reagimi i s\u00eb \u00ebm\u00ebs q\u00eb shket n\u00eb nj\u00eb delir g\u00ebzimi n\u00eb ato momente t\u00eb shoq\u00ebrohej me nj\u00eb volum krejt shurdhues! Megjithat\u00eb, mesazhi \u00ebsht\u00eb i qart\u00eb, po ashtu \u00ebsht\u00eb edhe gjendja psikologjike e dy personazheve. Venera po ndryshon, po rritet, po m\u00ebson t\u00eb argumentoj\u00eb p\u00ebr t\u00eb drejtat e saj dhe p\u00ebrfundimisht t\u00eb vazhdoj\u00eb k\u00ebrkimin e saj t\u00eb Vener\u00ebs.<\/p>","protected":false},"excerpt":{"rendered":"

U ul\u00ebm diku af\u00ebr sall\u00ebs Stavros Tornes, ku do t\u00eb shfaqej filmi i saj \u201cN\u00eb k\u00ebrkim t\u00eb Vener\u00ebs\u201d, mbr\u00ebmjen e 9 n\u00ebntorit n\u00eb Festivalin e Selanikut. Aty pim\u00eb nga nj\u00eb got\u00eb ver\u00eb, duke diskutuar p\u00ebr t\u00eb dhe filmin e saj. Shkuam bashk\u00eb tek amfiteatri dhe s\u00eb shpejti titulli u shfaq n\u00eb ekranin e madh. Nga […]<\/p>","protected":false},"author":414,"featured_media":2308,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,911,664],"ppma_author":[773],"class_list":["post-2306","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-girlhood","tag-kosovo"],"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 & 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2306","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=2306"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2306\/revisions"}],"predecessor-version":[{"id":2309,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2306\/revisions\/2309"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/2308"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=2306"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=2306"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=2306"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=2306"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}