Duke shikuar trajektoren e karrier\u00ebs s\u00eb saj duket qart\u00eb se regjisorja e mir\u00ebnjohur Suela Bako b\u00ebn hapa t\u00eb m\u00ebdhenj me \u00e7do projekt. Perceptimi i saj regjisorial ka arritur nj\u00eb pjekuri krejt\u00ebsisht t\u00eb balancuar dhe kjo duket n\u00eb filmin e saj t\u00eb fundit Kadillak dhe Manaferra, me t\u00eb cilin ajo po kthehet p\u00ebrs\u00ebri n\u00eb nj\u00eb fush\u00eb q\u00eb i flet zemr\u00ebs s\u00eb saj: te tregimi i dram\u00ebs personale, te historia e individit t\u00eb kufizuar [qoft\u00eb nga konteksti familjar (Darka, 2014), apo nga zgjedhje personale (M\u00ebng\u00eb K\u00ebmishe, 2015), nga pamund\u00ebsia t\u00eb p\u00ebrballet me nj\u00eb sistem thell\u00ebsisht problematik dhe t\u00eb paaft\u00eb (Un\u00eb quhem Sonila, 2020), ose nga rrethana shoq\u00ebrore (Kadillak dhe Manaferra, 2021)].<\/p>\n
N\u00eb rastin e filmit Darka, kamera n\u00eb p\u00ebrgjim t\u00eb dram\u00ebs p\u00ebrcjell ndjenjat e padurimit dhe t\u00eb druajtjes t\u00eb personazhit kryesor, Diana; kurse te M\u00ebng\u00eb k\u00ebmishe kamera statike vizaton disa imazhe befasuese p\u00ebr t\u00eb na futur n\u00eb ambientin e personazheve, para se t\u2019i kap\u00eb ata n\u00eb nj\u00eb kuad\u00ebr ku duken sikur do t\u00eb humben aty p\u00ebrher\u00eb, duke pasur vet\u00ebm nj\u00ebri-tjetrin. Kur e pash\u00eb filmin p\u00ebr her\u00eb t\u00eb par\u00eb, i thash\u00eb zonj\u00ebs Bako se m\u00eb p\u00eblqeu shum\u00eb se si teknika e kamer\u00ebs komenton mbi gjendjen shpirt\u00ebrore t\u00eb t\u00eb dy personazheve, gjithashtu dhe efekti q\u00eb ajo krijon mbi shikuesin – nj\u00eb efekt shum\u00eb i fuqish\u00ebm! Dhe t\u00eb nj\u00ebjtin efekt ajo krijon n\u00eb filmin Un\u00eb quhem Sonila, p\u00ebrmes kamer\u00ebs nervoze e cila transmeton ndjenj\u00ebn e pamund\u00ebsis\u00eb t\u00eb individit t\u00eb reagoj\u00eb kund\u00ebr paaft\u00ebsis\u00eb sistemore.<\/p>\n
Gjithmon\u00eb ajo tregon nj\u00eb tendenc\u00eb p\u00ebr t\u2019u fokusuar n\u00eb personazhe fem\u00ebrore. Por, n\u00eb rastin e Kadillak dhe manaferra, ajo p\u00ebrballet me nj\u00eb skenar krejt mashkullor, ndaj dhe m\u00eb sfidues, si\u00e7 \u00ebsht\u00eb shprehur dhe vet\u00eb. P\u00ebr mendimin tim, Kadillak \u00ebsht\u00eb kryevepra e saj. K\u00ebtu ajo po shpalos intensitetin e nj\u00eb drame personale duke p\u00ebrdorur thjesht ndri\u00e7imin dhe ngjyrat, dy mjete kryesore q\u00eb pasqyrojn\u00eb psikologjin\u00eb e personazheve. N\u00eb t\u00eb gjith\u00eb filmin mbizot\u00ebron kontrasti midis gj\u00ebrave t\u00eb kund\u00ebrta dhe ky kontrast kulminon me vizualizimin e antitez\u00ebs midis nevoj\u00ebs njer\u00ebzore p\u00ebr liri dhe shtypjen e k\u00ebsaj nevoje nga fuqi m\u00eb t\u00eb m\u00ebdha se individi, si\u00e7 \u00ebsht\u00eb nj\u00eb sistem totalitar.<\/p>\n
Kadillaku si simbol i nj\u00eb industrie gjigante t\u00eb nj\u00eb vendi i cili u bazua mbi iden\u00eb e liris\u00eb t\u00eb individit p\u00ebr tu zhvilluar n\u00eb nj\u00eb superpower dhe manaferrat si simbol i nj\u00eb vendi t\u00eb vog\u00ebl, nj\u00eb kujtes\u00eb p\u00ebr thjesht\u00ebsin\u00eb e vendit lokal. Dhe \u00ebsht\u00eb pik\u00ebrisht kjo thjesht\u00ebsi t\u00eb cil\u00ebn regjisorja e thekson p\u00ebrmes kontrastit t\u00eb ndri\u00e7imit q\u00eb ajo p\u00ebrdor: ngjyra t\u00eb ftohta p\u00ebr t\u00eb theksuar jet\u00ebn e pashpres\u00eb n\u00eb ambientet e pun\u00ebs manuale, nd\u00ebrsa ngjyra t\u00eb ngrohta n\u00eb momente ku theksohen njeriu dhe jeta e thjesht\u00eb – nj\u00eb prind duke mbledhur manaferra p\u00ebr t\u00eb birin; nj\u00eb vizatim i nj\u00eb makine t\u00eb kuqe p\u00ebr t\u00eb ndihmuar djalin n\u00eb detyrat e shkoll\u00ebs; nj\u00eb udh\u00ebtim i vog\u00ebl n\u00ebp\u00ebr peizazhin lokal me nj\u00eb Kadillak t\u00eb kuqe.<\/p>\n
T\u00eb gjitha elementet e filmit g\u00ebrshetohen n\u00eb harmoni si vargjet e nj\u00eb poezie – nj\u00eb poezi pamore v\u00ebrtet elegante – dhe s\u00eb bashku me interpretimin natyral t\u00eb t\u00eb dy personazheve kryesor\u00eb (Marini dhe Secretari i Partis\u00eb) ofrojn\u00eb nj\u00eb p\u00ebrvoj\u00eb t\u00eb k\u00ebndshme vizuale, edhe pse subjekti \u00ebsht\u00eb krejt serioz dhe i trisht\u00eb n\u00eb thelb. Mbase ky \u00ebsht\u00eb dhe kontrasti m\u00eb i fuqish\u00ebm q\u00eb regjisorja ka nd\u00ebrtuar, duke i dh\u00ebn\u00eb k\u00ebshtu frym\u00eb skenarit t\u00eb Bujar Alimanit, i cili e ka bazuar k\u00ebt\u00eb histori n\u00eb ngjarje t\u00eb v\u00ebrteta. Sa p\u00ebr interpretimin e Daren Karrameto, mund t\u00eb themi se ka ende hap\u00ebsir\u00eb p\u00ebr p\u00ebrmir\u00ebsim dhe mosha e tij i lejon koh\u00eb p\u00ebr t\u00eb ndjekur dhe arritur statusin e nj\u00eb aktori t\u00eb madh.<\/p>\n
Lulzim Zeqja na bind q\u00eb nga momentet e para se \u00ebsht\u00eb nj\u00eb njeri i thjesht\u00eb, madje dhe pak naiv, i pat\u00ebkeq; nd\u00ebrsa Myzafer Zifla q\u00ebndron gjithsesi i p\u00ebrshtatsh\u00ebm n\u00eb rolin e tij si njeriu i sistemit, Sekretari i Partis\u00eb, serioz, cinik, dhe i pam\u00ebshirsh\u00ebm si\u00e7 u tregua n\u00eb fund. Dhe \u00e7ka b\u00ebn p\u00ebrshtypje \u00ebsht\u00eb k\u00ebmb\u00ebngulja e Marinit t\u00eb refuzoj\u00eb k\u00ebrkes\u00ebn e Sekretarit edhe pse ky i fundit po e k\u00ebrc\u00ebnon haptazi, duke rrezikuar k\u00ebshtu ta l\u00ebr\u00eb t\u00eb birin jetim.<\/p>\n
Natyrisht, ne presim t\u00eb shohim Marinin t\u00eb sillet i kujdessh\u00ebm p\u00ebr t\u00eb siguruar se djali i vet nuk do t\u00eb ngelet pa prind\u00ebr, por ai p\u00ebrkundrazi i injoron t\u00eb gjitha k\u00ebrc\u00ebnimet; dhe ndoshta q\u00ebndrimi i tij ting\u00ebllon si nj\u00eb pik\u00eb e dob\u00ebt n\u00eb skenar, por mbase \u00ebsht\u00eb thjesht nj\u00eb vendim i nd\u00ebrgjegjsh\u00ebm i Alimanit p\u00ebr t\u00eb krijuar n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb nj\u00eb efekt dramatik dhe p\u00ebr ta treguar pashmangshm\u00ebrin\u00eb e dram\u00ebs personale n\u00eb nj\u00eb regjim totalitar. Askush nuk i shp\u00ebton padrejt\u00ebsis\u00eb me t\u00eb cil\u00ebn nj\u00eb sistem i till\u00eb trajton popullin t\u00eb n\u00ebnshtruar.<\/p>\n
Dhe ndoshta rezistenca e Marinit \u00ebsht\u00eb nj\u00eb gjest personal shembullor kund\u00ebr bish\u00ebs s\u00eb diktatur\u00ebs. Dhe ndoshta ky \u00ebsht\u00eb mesazhi i filmit p\u00ebr publikun: rezistoni \u00e7do lloj manipulimi dhe shtypjeje, dhe mos harroni t\u2019i shijoni gj\u00ebrat e vogla dhe t\u00eb thjeshta n\u00eb jet\u00eb. N\u00eb fund t\u00eb fundit, asnj\u00eb regjim nuk mund t’jua vjedh\u00eb momentet dhe kujtimet e tuaja m\u00eb t\u00eb \u00e7muara, sado t\u00eb vogla apo t\u00eb shkurtra, qoft\u00eb nj\u00eb Kadillak apo disa manaferra!<\/p>","protected":false},"excerpt":{"rendered":"
Duke shikuar trajektoren e karrier\u00ebs s\u00eb saj duket qart\u00eb se regjisorja e mir\u00ebnjohur Suela Bako b\u00ebn hapa t\u00eb m\u00ebdhenj me \u00e7do projekt. Perceptimi i saj regjisorial ka arritur nj\u00eb pjekuri krejt\u00ebsisht t\u00eb balancuar dhe kjo duket n\u00eb filmin e saj t\u00eb fundit Kadillak dhe Manaferra, me t\u00eb cilin ajo po kthehet p\u00ebrs\u00ebri n\u00eb nj\u00eb fush\u00eb […]<\/p>","protected":false},"author":414,"featured_media":2320,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,914],"ppma_author":[773],"class_list":["post-2319","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-film-directing"],"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\/2319","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=2319"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2319\/revisions"}],"predecessor-version":[{"id":2321,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2319\/revisions\/2321"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/2320"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=2319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=2319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=2319"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=2319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}