{"id":4193,"date":"2018-03-24T12:12:55","date_gmt":"2018-03-24T10:12:55","guid":{"rendered":"https:\/\/sbunker.org\/?p=4193"},"modified":"2025-01-10T12:18:18","modified_gmt":"2025-01-10T10:18:18","slug":"shqiperia-dardania-dhe-pykezimet-fqinjesore-ne-capitjen-drejt-nje-oscar-i","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/shqiperia-dardania-dhe-pykezimet-fqinjesore-ne-capitjen-drejt-nje-oscar-i\/","title":{"rendered":"Shqip\u00ebria, Dardania dhe pyk\u00ebzimet fqinj\u00ebsore n\u00eb \u00e7apitjen drejt nj\u00eb “Oscar”-i…"},"content":{"rendered":"
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P\u00ebrsiatje mbi filmat: Dita z\u00eb fill nga Shqip\u00ebria (e Greqia) dhe T`padashtun nga Kosova, propozuar p\u00ebr \u00e7mimet Oscar 2018 nga qendrat kinematografike p\u00ebrkat\u00ebse.<\/p>\n<\/div>\n

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\u201cDita z\u00eb fill\u201d; skenari dhe regjia, Gentian Ko\u00e7i.
\n\u201cT\u2019padashtun\u201d; skenari dhe regjia, Edon Rizvanolli.<\/p>\n

Shkrimi, si m\u00eb posht\u00eb vijon, \u00ebsht\u00eb n\u00eb vetvete nj\u00eb v\u00ebshtrim krahasues mes dy filmave q\u00eb flasin shqip. Q\u00ebllimi i k\u00ebtij shkrimi, pavar\u00ebsisht \u00e7do interpretimi t\u00eb mundsh\u00ebm, \u00ebsht\u00eb vet\u00ebm e vet\u00ebm nj\u00eb v\u00ebzhgim i v\u00ebmendsh\u00ebm ndaj asaj \u00e7far\u00eb prodhohet nga kombi shqiptar, par\u00ebsisht p\u00ebr kombin shqiptar, por edhe m\u00eb gjer\u00eb, me vler\u00eb apo munges\u00eb vlere jo vet\u00ebm p\u00ebr t\u00eb sotmen, por edhe p\u00ebr t\u00eb nes\u00ebrmen. Si nga ana artistike dhe shpirt\u00ebrore, por po ashtu edhe nga ajo monetare, prodhimet n\u00eb fjal\u00eb nuk jan\u00eb merit\u00eb apo mang\u00ebsi e nj\u00eb individi apo thjesht e nj\u00eb grupi pune, porse jan\u00eb rrjedhoj\u00eb e nj\u00eb s\u00ebr\u00eb treguesish. N\u00ebse arritjet e nj\u00eb individi i p\u00ebrg\u00ebzon dhe i duartroket nj\u00eb komb i t\u00ebr\u00eb, me t\u00eb nj\u00ebjtin arsyetim mund t\u00eb themi se, edhe kur di\u00e7ka a shum\u00eb\u00e7ka \u00e7alon, kjo domosdo prek interesat moral\u00eb t\u00eb nj\u00eb kombi, n\u00eb k\u00ebt\u00eb rast t\u00eb kombit shqiptar. Rrezikojm\u00eb t\u00eb biem n\u00eb patetiz\u00ebm me k\u00ebt\u00eb qasje, por ka nj\u00eb arsye t\u00eb vetme madhore p\u00ebr k\u00ebt\u00eb k\u00ebmb\u00ebngulje: SHIKUESI SHQIPTAR NUK E NDJEK FILMIN SHQIPTAR, duke ngelur ende peng i kinematografis\u00eb s\u00eb shkuar (shqiptare), tejngopur me ideologji politike, vet\u00ebm e vet\u00ebm se aty gjen profesionaliz\u00ebm!<\/p>\n

\u201cSuksesi nd\u00ebrkomb\u00ebtar i filmit do t\u00eb varet nga fakti se sa do t\u00eb kuptohet prej t\u00eb gjith\u00ebve gjuha e mimik\u00ebs dhe gjestit\u201d (B\u00e9la Bal\u00e1zs). Kjo shprehje, ndon\u00ebse th\u00ebn\u00eb p\u00ebr filmin pa z\u00eb, mund t\u00eb p\u00ebrshtatet fare mir\u00eb p\u00ebr filmin n\u00eb p\u00ebrgjith\u00ebsi dhe kat\u00ebrcip\u00ebrisht KUND\u00cbRSHTON \u00e7do producent, skenarist, regjisor apo aktor q\u00eb mbrohet me shprehjen: \u201cFilmi im nuk ndiqet (shihet), sepse nuk kuptohet.\u201d.<\/p>\n

Paraprakisht<\/strong><\/p>\n

as a \u201cDita z\u00eb fill<\/em>\u201d paraqet jet\u00ebn e nj\u00eb n\u00ebne t\u00eb re, e cila jeton s\u00eb bashku me foshnj\u00ebn e saj n\u00eb kushte t\u00eb pamjaftueshme jetese, duke shkuar, kryesisht p\u00ebr shkak t\u00eb kushteve socio-ekonomike, drejt nj\u00eb fundi dramatik.<\/p>\n

Nj\u00eb tem\u00eb e vog\u00ebl, par\u00eb n\u00eb k\u00ebndv\u00ebshtrim tejet t\u00eb ngusht\u00eb, pa\u00e7ka se, ndoshta, ngrihet pretendimi p\u00ebr t\u00eb qen\u00eb pik\u00ebnisje p\u00ebr pasqyrimin e gjer\u00eb t\u00eb realitetit. P\u00ebrzgjedhja, sigurisht, mbetet p\u00ebrpar\u00ebsi e regjisorit, por, p\u00ebrkund\u00ebr t\u00ebr\u00eb larmis\u00eb s\u00eb ngjarjeve q\u00eb e kan\u00eb p\u00ebrshkuar dhe e p\u00ebrshkojn\u00eb realitetin shqiptar, drejtuesi i filmit shkon e mbyllet n\u00eb nj\u00eb dram\u00eb n\u00eb miniatur\u00eb dhe kjo ting\u00ebllon paksa zhg\u00ebnjyese.<\/p>\n

as a \u201cT\u2019padashtun<\/em>\u201d nd\u00ebrthur si tem\u00ebn e luft\u00ebs (gjenocidin serb n\u00eb Kosov\u00eb), ashtu edhe tem\u00ebn e emigracionit, duke i prekur personazhet (n\u00ebn\u00eb e bir) – t\u00eb cil\u00ebt vuajn\u00eb edhe pasojat e luft\u00ebs, edhe pasojat e emigrimit (n\u00eb Holand\u00eb) po ashtu, duke u shnd\u00ebrruar n\u00eb \u201ct\u2019padashtun\u201d (t\u00eb pad\u00ebshiruar) kudo – n\u00eb skutat e veta psikologjike, shpirt\u00ebrore e morale, por jo duke i shkuar thell\u00eb analiz\u00ebs p\u00ebrkat\u00ebse. Pik\u00ebrisht p\u00ebr k\u00ebt\u00eb arsye, paraprakisht, themi se filmi nuk e ka p\u00ebrmbushur deri n\u00eb fund misionin e vet.<\/p>\n

Hyrja<\/strong><\/p>\n

Nj\u00eb hyrje t\u00ebrheq\u00ebse \u00ebsht\u00eb e domosdoshme p\u00ebrher\u00eb e k\u00ebt\u00eb kusht \u201cT\u2019padashtun<\/em>\u201d nuk e plot\u00ebson, kurse \u201cDita z\u00eb fill<\/em>\u201d po, duke na mb\u00ebrthyer me nj\u00eb hyrje premtuese.<\/p>\n

Te filmi \u201cT\u2019padashtun<\/em>\u201d hyrja \u00ebsht\u00eb e gjat\u00eb, e m\u00ebrzitshme. Deri n\u00eb minut\u00ebn e 30-t\u00eb nuk ndodh pothuajse asgj\u00eb. Plog\u00ebshtia – dhe aspak befasia – \u00ebsht\u00eb ajo \u00e7ka e karakterizon hyrjen e k\u00ebtij filmi.<\/p>\n

Nga ana tjet\u00ebr, \u201cDita z\u00eb fill<\/em>\u201d t\u00eb krijon fillimisht ndjesin\u00eb e leht\u00ebsis\u00eb dhe k\u00ebnaq\u00ebsis\u00eb s\u00eb nj\u00eb filmi t\u00eb mir\u00eb, ve\u00e7se kjo ndjesi nuk t\u00eb shoq\u00ebron p\u00ebrgjat\u00eb gjith\u00eb rrug\u00ebtimit filmik. Filmi shnd\u00ebrrohet shi n\u00eb mes t\u00eb rrug\u00ebs s\u00eb vet, fill at\u00ebher\u00eb kur ti mendon se po sheh nj\u00eb film q\u00eb zgjon interes, n\u00eb nj\u00eb film t\u00eb zbeht\u00eb dhe pa ngacmim mendimi apo ndjesie.<\/p>\n

N\u00ebse e p\u00ebrmbledhim, pik\u00ebrisht at\u00ebher\u00eb kur nis t\u00eb shp\u00ebrb\u00ebhet v\u00ebmendja te \u201cDita z\u00eb fill<\/em>\u201d, n\u00eb gjysm\u00eb t\u00eb koh\u00ebs p\u00ebrkat\u00ebse filmike, po at\u00ebkoh\u00eb (pak a shum\u00eb) z\u00eb e zgjohet \u201cT\u2019padashtun<\/em>\u201d, i cili shfaqet i nj\u00ebtrajtsh\u00ebm dhe i p\u00ebrgjumur deri n\u00eb gjysm\u00ebn e vet, me skena t\u00eb shumta t\u00eb cilat nuk lidhen me rr\u00ebfimin dhe q\u00eb e plot\u00ebsojn\u00eb koh\u00ebn filmike krejt artificialisht.<\/p>\n

Ky p\u00ebrb\u00ebn nj\u00eb tipar p\u00ebrbashkues mes filmave. Ata nuk arrijn\u00eb t\u00eb ken\u00eb t\u00eb nj\u00ebjt\u00ebn pesh\u00eb fund e krye p\u00ebrgjat\u00eb shp\u00ebrfaqjes s\u00eb tyre. Por jo tipari i vet\u00ebm. N\u00ebse p\u00ebrqendrohemi n\u00eb p\u00ebrmbajtjen, shohim se, ndon\u00ebse nj\u00ebri film ka n\u00eb qend\u00ebr nj\u00eb personazh kryesor dhe tjetri dy, n\u00eb t\u00eb dy filmat marr\u00ebdh\u00ebnia n\u00ebn\u00eb-bir \u00ebsht\u00eb ajo mbizot\u00ebruesja, ajo prej s\u00eb cil\u00ebs z\u00eb fill e shtjellohet gjith\u00e7ka.<\/p>\n

Zhvillimi<\/strong><\/p>\n

as a \u201cDita z\u00eb fill<\/em>\u201d shp\u00ebrfaq q\u00eb n\u00eb nisje brendin\u00eb e vet\u00eb filmit: p\u00ebrpjekjen p\u00ebr mbijetes\u00eb. E gjith\u00eb kjo b\u00ebhet e ditur n\u00ebp\u00ebrmjet sken\u00ebs s\u00eb par\u00eb: nj\u00eb grua dhe nj\u00eb foshnj\u00eb n\u00eb nj\u00eb banes\u00eb p\u00ebrdhese, mjedis me qira (\u00e7ka e d\u00ebshmon trokitja e fort\u00eb dhe fjala e vrazhd\u00eb e t\u00eb zotit t\u00eb sht\u00ebpis\u00eb, q\u00ebndrimi i t\u00eb cilit n\u00ebnkupton munges\u00eb durimi dhe d\u00ebshire p\u00ebr ta mb\u00ebshtetur n\u00eb ndonj\u00ebfar\u00eb m\u00ebnyre banoren) kushte t\u00eb pakta dhe jocil\u00ebsore banimi etj.<\/p>\n

Kjo grua, veprimet e s\u00eb cil\u00ebs p\u00ebrcjellin te shikuesi p\u00ebrgjat\u00eb gjith\u00eb filmit ndjesin\u00eb e mpirjes psiko-fizike prej shtigjeve t\u00eb mbyllura t\u00eb jet\u00ebs, \u00ebsht\u00eb n\u00eb qend\u00ebr t\u00eb tablos\u00eb reale t\u00eb mjerimit bashk\u00ebkohor – ku mir\u00ebqenia e p\u00ebrgjithshme \u00ebsht\u00eb n\u00eb shkall\u00eb t\u00eb ul\u00ebt, porse p\u00ebrhapja e teknologjis\u00eb m\u00eb se e zgjeruar; ku arsimi i lart\u00eb \u00ebsht\u00eb i ndjeksh\u00ebm, por jo fort i dobish\u00ebm p\u00ebr t\u00eb p\u00ebrballuar jetes\u00ebn; ku ambicia \u00ebsht\u00eb e madhe e mund\u00ebsit\u00eb shp\u00ebrndar\u00eb kaq shum\u00eb pabarazisht etj., etj.<\/p>\n

Violeta (Ornela Kapetani) \u00ebsht\u00eb nj\u00eb grua e cila ka ndihmuar nj\u00eb proces eutanazie a ndoshta ka kryer nj\u00eb vrasje (mungon pohimi i saj i qart\u00eb p\u00ebr nj\u00eb veprim t\u00eb till\u00eb); \u00ebsht\u00eb nj\u00eb grua e cila vret ose, thjesht, muros nj\u00eb njeri q\u00eb vdes (gruan e moshuar p\u00ebr t\u00eb cil\u00ebn kujdeset n\u00eb k\u00ebmbim t\u00eb pages\u00ebs).<\/p>\n

Nd\u00ebrsa filmi \u201cT\u2019padashtun<\/em>\u201d, si shum\u00eb krijime t\u00eb tjera kinematografike t\u00eb koh\u00ebs s\u00eb pasluft\u00ebs n\u00eb Kosov\u00eb, merr shkas nga lufta q\u00eb \u00ebsht\u00eb zhvilluar n\u00eb t\u00eb. Kjo e b\u00ebn t\u00eb p\u00ebrngjash\u00ebm me paraardh\u00ebsit e gjinis\u00eb s\u00eb vet. Ajo e cila e b\u00ebn t\u00eb ve\u00e7ant\u00eb, \u00ebsht\u00eb pik\u00ebrisht trajtimi i pasojave t\u00eb k\u00ebsaj lufte n\u00eb m\u00ebnyr\u00eb shum\u00ebplan\u00ebshe: jo me nj\u00eb protagonist, por me dy; jo vet\u00ebm p\u00ebr shqiptar\u00ebt e Kosov\u00ebs, por edhe p\u00ebr ata q\u00eb jetojn\u00eb larg saj, n\u00eb emigrim; jo vet\u00ebm te nj\u00eb brez, por n\u00eb tre (I biri, e \u00ebma, prind\u00ebrit n\u00eb Kosov\u00eb); jo vet\u00ebm te viktima (gruaja), por edhe tek agresori (serbi).<\/p>\n

Karakterizimi-interpretimi<\/strong><\/p>\n

as a \u201cDita z\u00eb fill<\/em>\u201d zgjedh t\u00eb ket\u00eb nj\u00eb protagoniste, kurse \u201cT\u2019padashtun<\/em>\u201d parap\u00eblqen t\u00eb v\u00ebr\u00eb n\u00eb qend\u00ebr dy bashk\u00ebprotagonist\u00eb. Vet\u00eb titulli i p\u00ebrmban ata: \u201cT\u2019padashtun<\/em>.\u201d<\/p>\n

Duke e nisur me protagonisten e filmit \u201cDita z\u00eb fill<\/em>\u201d, mund t\u00eb themi se skeda e personazhit \u00ebsht\u00eb zhvilluar mir\u00eb, ndon\u00ebse nga pik\u00ebpamja e analiz\u00ebs socio-psikologjike, protagonistja fare mir\u00eb mund t\u00eb cil\u00ebsohet nj\u00eb antiheroin\u00eb. Nj\u00eb antiheroin\u00eb figur\u00ebn e s\u00eb cil\u00ebs \u201ce shp\u00ebton\u201d dhe e v\u00eb l\u00ebvizje vet\u00ebm instinkti prej n\u00ebne.<\/p>\n

P\u00ebr sa i p\u00ebrket interpretimit t\u00eb saj, p\u00ebrpos skenave me t\u00eb birin, ku edhe shk\u00ebndijon ndonj\u00eb q\u00ebndrim i zbeht\u00eb njer\u00ebzor, n\u00eb \u00e7do \u00e7ast tjet\u00ebr protagonistja mban nj\u00eb portret, nj\u00eb q\u00ebndrim: e ngrysur, e d\u00ebshp\u00ebruar, me shk\u00ebndijime lig\u00ebsie dhe arrogance.<\/p>\n

Me sy (shikim) dhe z\u00eb (shqiptim, ting\u00ebllim) gati t\u00eb paduruesh\u00ebm, n\u00eb k\u00ebt\u00eb personazh fjala mbart pesh\u00ebn e fundit n\u00eb p\u00ebrcaktimin e saj si antiheroin\u00eb. Por, pse e cil\u00ebsojm\u00eb t\u00eb till\u00eb?<\/p>\n

– Karakterizohet nga pandjeshm\u00ebria e p\u00ebrgjithshme (p\u00ebrjashto lidhjen me f\u00ebmij\u00ebn).
\n– D\u00ebshmon munges\u00eb men\u00e7urie n\u00eb zgjidhjen q\u00eb u jep situatave.
\n– \u00cbsht\u00eb e molepsur si shoq\u00ebria n\u00eb t\u00eb cil\u00ebn b\u00ebn pjes\u00eb. \u00cbsht\u00eb vazhdimisht e prirur p\u00ebr t\u00eb shtremb\u00ebruar vetveten vet\u00ebm e vet\u00ebm q\u00eb t\u00eb
\nshp\u00ebtoj\u00eb nga situata. Ajo p\u00ebrpiqet t\u00eb blej\u00eb postierin, pra, heshtjen e tij. E blen me lek\u00eb, m\u00eb pas me trupin e vet; ajo v\u00eb n\u00eb gjendje t\u00eb v\u00ebshtir\u00eb mikesh\u00ebn e vet, s\u00eb cil\u00ebs i duhet t\u00eb vjedh\u00eb pron\u00ebn shtet\u00ebrore p\u00ebr t\u00eb furnizuar Violet\u00ebn etj., etj. Ani pse, nj\u00eb antiheroine sigurisht q\u00eb mund t\u2019i lejohet q\u00eb t\u00eb p\u00ebrpiqet gjithnj\u00eb t\u2019i zgjidh\u00eb problemet n\u00eb m\u00ebnyr\u00eb t\u00eb t\u00ebrthort\u00eb dhe t\u00eb pandershme.
\n– E paaft\u00eb p\u00ebr t\u00eb bashk\u00ebvepruar natyrsh\u00ebm n\u00eb shoq\u00ebri, p\u00ebr t\u00eb nd\u00ebrtuar marr\u00ebdh\u00ebnie t\u00eb natyrshme intime, ca m\u00eb pak josh\u00ebse.
\n– Nuk \u00ebsht\u00eb nj\u00eb personazh q\u00eb p\u00ebrpiqet t\u00eb sjell\u00eb ndryshimin, por \u00ebsht\u00eb nj\u00eb individ q\u00eb ia ka \u00ebnda t\u00eb ndjek\u00eb loj\u00ebn \u201ce pist\u00eb\u201d, vet\u00ebm se nuk e fiton dot at\u00eb loj\u00eb.<\/p>\n

Shoq\u00ebria, nga ana tjet\u00ebr, domosdoshm\u00ebrisht, shfaqet e ashp\u00ebr ndaj saj. P\u00ebrkat\u00ebsisht personazhet:<\/p>\n

– Qiradh\u00ebn\u00ebsi (P\u00ebllumb Dervishi – nj\u00eb aktor amator, i cili identifikohet me interpretim t\u00eb ul\u00ebt, por me nj\u00eb rol episodik t\u00eb r\u00ebnd\u00ebsish\u00ebm) – e flak ashp\u00ebrsisht n\u00eb rrug\u00eb.
\n–\u00a0Vajza e gruas s\u00eb moshuar (Jonida Beqo – dialogu me t\u00eb cil\u00ebn \u00ebsht\u00eb i nj\u00ebansh\u00ebm dhe \u00e7uditsh\u00ebm, panevojshm\u00ebrisht misterioz p\u00ebr nga m\u00ebnyra si interpretohet) – nuk interesohet as formalisht p\u00ebr t\u00eb; komunikon vet\u00ebm p\u00ebr \u00e7\u00ebshtjen e pun\u00ebs.
\n–\u00a0Mikesha (Eriona Kakeli) – nuk e pranon n\u00eb sht\u00ebpi; i nd\u00ebrpret edhe ndihm\u00ebn e dh\u00ebn\u00eb deritashm\u00eb, ndon\u00ebse n\u00eb dukje pengesat vijn\u00eb prej personave t\u00eb tjer\u00eb, bashk\u00ebshortit t\u00eb saj dhe eprores.
\n–\u00a0Komshiu (Neritan Li\u00e7aj) – nuk \u00ebsht\u00eb bashk\u00ebpunues n\u00eb zgjidhjen e problemit t\u00eb p\u00ebrbashk\u00ebt.
\n– Infermierja tjet\u00ebr (Adele Gjoka) – \u00ebsht\u00eb pjes\u00eb e denoncimit t\u00eb aktit t\u00eb saj (Violet\u00ebs) n\u00eb polici.
\n–\u00a0Postieri (Kasem Hoxha) – me t\u00eb cilin krijon marr\u00ebdh\u00ebnie fizike, pjes\u00eb e denoncimit n\u00eb polici po ashtu.<\/p>\n

Por problemi nuk q\u00ebndron n\u00eb p\u00eblqimin apo mosp\u00eblqimin e personazhit t\u00eb Violet\u00ebs… Protagonistja, n\u00eb asnj\u00eb \u00e7ast nuk na krijon ndjesin\u00eb se p\u00ebrfaq\u00ebson nj\u00eb shtres\u00eb shoq\u00ebrore. Ajo nxit mendimin se p\u00ebrfaq\u00ebson vet\u00ebm vetveten dhe se vuan vet\u00ebm pasojat e veprimeve t\u00eb saj dhe jo t\u00eb kushteve n\u00eb t\u00eb cilat ndodhet shoq\u00ebria s\u00eb cil\u00ebs ajo i p\u00ebrket.<\/p>\n

Me tjet\u00ebr frym\u00ebmarrje vijn\u00eb protagonist\u00ebt e filmit \u201cT\u2019padashtun\u201d<\/em>. Krejt ndryshe nga aktor\u00ebt shqiptar\u00eb prej Shqip\u00ebrie, aktor\u00ebt shqiptar\u00eb prej Dardanie (Kosove) nuk luajn\u00eb p\u00ebr kamer\u00ebn. Diku, dikur duhet ta ket\u00eb zanafill\u00ebn ngurt\u00ebsia e t\u00eb par\u00ebve (si e met\u00eb) dhe shlirt\u00ebsia prej t\u00eb dyt\u00ebve (si merit\u00eb). R\u00ebnd\u00ebsi ka q\u00eb \u00ebsht\u00eb e pamohueshme n\u00eb plan t\u00eb p\u00ebrgjithsh\u00ebm.<\/p>\n

Lidhur me personazhet te filmi \u201cT\u2019padashtun<\/em>\u201d, m\u00eb s\u00eb shumti, problemi i protagonist\u00ebve, edhe n\u00eb k\u00ebt\u00eb film, buron prej vet\u00eb nd\u00ebrtimit t\u00eb tyre, nd\u00ebrsa p\u00ebr sa i p\u00ebrket aft\u00ebsis\u00eb interpretative t\u00eb aktor\u00ebve, ajo karakterizohet nga natyrshm\u00ebria dhe buron sa nga ndjesia e tyre e brendshme, sa nga drejtimi regjisorial. Ata, v\u00ebrtet, shpalosin vetveten p\u00ebrmes veprimeve p\u00ebrkat\u00ebse (autokarakterizimit) dhe kjo \u00ebsht\u00eb e bukur, por sa keq q\u00eb veprimi p\u00ebrs\u00ebritet sa her\u00eb, duke i shnd\u00ebrruar skenat nga njoh\u00ebse n\u00eb t\u00eb m\u00ebrzitshme.<\/p>\n

K\u00ebshtu q\u00eb, pavar\u00ebsisht loj\u00ebs s\u00eb natyrshme, shikuesi q\u00ebndron i ftoht\u00eb ndaj fateve t\u00eb tyre, ndon\u00ebse kjo p\u00ebrmbyset n\u00eb pik\u00ebn kulmore dhe at\u00eb t\u00eb mbylljes (duke qen\u00eb se k\u00ebto dy pika p\u00ebrputhen koh\u00ebsisht) po ashtu.<\/p>\n

Filmi nis me grindjet n\u00eb t\u00eb cilat p\u00ebrfshihet djaloshi emigrant (Albani – Jason de Ridder), grindje t\u00eb cilat p\u00ebrmenden duke n\u00ebnkuptuar t\u00eb kaluar\u00ebn dhe q\u00eb vazhdojn\u00eb koh\u00eb pas kohe n\u00eb film. Grindje t\u00eb cilat marrin nj\u00eb tjet\u00ebr shpjegim n\u00eb fund t\u00eb filmit (gjysmagjaku serb k\u00ebrkon dhunsh\u00ebm t\u00eb pranohet prej t\u00eb tjer\u00ebve) nga ai q\u00eb ne mendojm\u00eb p\u00ebrgjat\u00eb gjith\u00eb filmit (q\u00eb Albani \u00ebsht\u00eb nj\u00eb emigrant adoleshent i d\u00ebshp\u00ebruar i papranuar prej shoq\u00ebris\u00eb s\u00eb huaj).<\/p>\n

P\u00ebr m\u00eb tej, m\u00ebnyra si p\u00ebrfshihet ai n\u00eb aktin seksual n\u00eb disko dhe se si e trajton partneren, nuk \u00ebsht\u00eb ajo \u00e7ka karakterizon t\u00eb nj\u00ebjtin personazh n\u00eb vijim, pra, na paraqiten dy karaktere t\u00eb ndryshme dhe jo nj\u00eb karakter n\u00eb zhvillim dhe ndryshim, si\u00e7 ndoshta pretendon autori. Nga ana tjet\u00ebr, figura e tij nuk mund t\u00eb pastrohet fal\u00eb nj\u00eb skene shoq\u00ebrimi me nj\u00eb f\u00ebmij\u00eb… fill pas sken\u00ebs seksuale n\u00eb disko, plani tjet\u00ebr e shfaq Albanin pran\u00eb nj\u00eb f\u00ebmije, i cili l\u00ebkundet n\u00eb shilar\u00ebs.<\/p>\n

Protagonistja tjet\u00ebr, n\u00ebna e tij (Zana – Adriana Matoshi), ende nj\u00eb grua e re… K\u00ebrkon ndihm\u00ebn e barnave p\u00ebr t\u00eb zbutur t\u00eb kaluar\u00ebn dhe p\u00ebr t\u00eb p\u00ebrballuar t\u00eb p\u00ebrditshmen… Tronditet nga tatuazhi i pasagjerit n\u00eb traget, q\u00eb di\u00e7 i kujton dhe e shqet\u00ebson s\u00eb tep\u00ebrmi (ndon\u00ebse lidhja midis k\u00ebsaj mizanskene me fundin e filmit \u00ebsht\u00eb e larg\u00ebt)… Shfaqet mjaft e ngurt\u00eb n\u00eb njohjet me gjinin\u00eb tjet\u00ebr… B\u00ebn p\u00ebrpjekje (artificiale) p\u00ebr t\u2019u larguar nga qyteti, n\u00eb m\u00ebnyr\u00eb q\u00eb djali t\u00eb ndahet nga e reja serbe.<\/p>\n

Mir\u00ebpo, gjith\u00eb \u00e7\u2019p\u00ebrmend\u00ebm m\u00eb sip\u00ebr nuk ndihmon q\u00eb lidhja e protagonistes fem\u00ebr me t\u00eb kaluar\u00ebn, n\u00eb m\u00ebnyr\u00eb t\u00eb vazhdueshme, t\u00eb jet\u00eb e fort\u00eb dhe t\u2019i sh\u00ebrbej\u00eb cil\u00ebsisht q\u00ebllimit q\u00eb ka autori, pra, q\u00eb t\u00eb parap\u00ebrgatis\u00eb disi shikuesin p\u00ebr fundin e pritsh\u00ebm, sigurisht pa zbuluar misterin.<\/p>\n

P\u00ebr t\u00eb kaluar te personazhet dyt\u00ebsore, nd\u00ebr t\u00eb cil\u00ebt ai q\u00eb spikat te filmi \u201cDita z\u00eb fill<\/em>\u201d, \u00ebsht\u00eb pik\u00ebrisht personazhi i Sofis\u00eb (Suzana Prifti), si n\u00eb krijim, po ashtu edhe n\u00eb interpretim. Sofia \u00ebsht\u00eb e bukur n\u00eb p\u00ebrmbajtje (g\u00ebrshetohen n\u00eb k\u00ebt\u00eb personazh urt\u00ebsia, largpam\u00ebsia dhe vet\u00ebsakrifikimi), por ajo \u00ebsht\u00eb po ashtu kaq e v\u00ebrtet\u00eb dhe kaq e ndjer\u00eb edhe n\u00eb paraqitjen e personazhit. Dallimi m\u00eb thelb\u00ebsor q\u00eb ndihet duksh\u00ebm mes saj dhe protagonistes lidhet me t\u00eb v\u00ebrtet\u00ebn se n\u00eb t\u00eb forca dhe d\u00ebshira p\u00ebr jet\u00eb, ndon\u00ebse p\u00ebr dit\u00eb e m\u00eb tep\u00ebr \u00ebsht\u00eb nj\u00eb hap m\u00eb af\u00ebr vdekjes, \u00ebsht\u00eb m\u00eb e dukshme se te vet\u00eb protagonistja, e cila, teorikisht, ka m\u00eb shum\u00eb arsye p\u00ebr t\u00eb jetuar dhe p\u00ebr t\u00eb b\u00ebr\u00eb zgjedhje t\u00eb zgjuara, gj\u00eb q\u00eb nuk ndodh.<\/p>\n

Te Sofia krijohet frym\u00ebmarrje jete, personazhi i Sofis\u00eb vjen kaq njer\u00ebzor, kaq jet\u00ebplot\u00eb, shoq\u00ebruar me nj\u00eb mimik\u00eb filozofike e t\u00eb p\u00ebrtejme, ndon\u00ebse po vuan nj\u00eb agoni t\u00eb st\u00ebrzgjatur e, n\u00eb nj\u00eb pik\u00eb t\u00eb caktuar, edhe t\u00eb vullnetshme. Fare mir\u00eb Sofia mund ta gjente \u00e7astin p\u00ebr t\u2019i dh\u00ebn\u00eb fund jet\u00ebs plot dhimbje e zhg\u00ebnjime, por nuk e b\u00ebn di\u00e7ka t\u00eb till\u00eb. Madje e shqipton vullnetin e saj t\u00eb mir\u00eb. Ajo e siguron Violet\u00ebn q\u00eb \u00ebsht\u00eb n\u00eb krahun e saj, q\u00eb do t\u00eb duroj\u00eb p\u00ebr hir t\u00eb f\u00ebmij\u00ebs s\u00eb Violet\u00ebs, ndon\u00ebse ndihet e tradhtuar edhe prej f\u00ebmij\u00ebs s\u00eb vet. N\u00eb nj\u00eb tjet\u00ebr \u00e7ast, ajo e ndien veten t\u00eb fuqishme t\u00eb ngrihet dhe t\u00eb mbaj\u00eb n\u00eb duar foshnj\u00ebn e Violet\u00ebs. Mimika e k\u00ebsaj t\u00eb fundit kalon shum\u00eb shpejt nga shqet\u00ebsimi p\u00ebr f\u00ebmij\u00ebn n\u00eb ng\u00ebrdheshje.<\/p>\n

P\u00ebrpiqet t\u00eb vij\u00eb natyrshm\u00ebrisht edhe loja e postierit, por skenat memece n\u00eb t\u00eb cilat vihet, nuk ia lejojn\u00eb k\u00ebt\u00eb. Sidoqoft\u00eb, p\u00ebrvoja aktoriale e ndihmon q\u00eb personazhit t\u00eb tij t\u2019i vesh\u00eb nj\u00eb lloj humori t\u00eb zi, por sigurisht q\u00eb, me r\u00ebnien e filmit, bie edhe mbar\u00eb \u201cansambli\u201d i aktor\u00ebve, sidomos n\u00eb fund t\u00eb filmit, duke u rikrijuar stili i demaskimit t\u00eb vjet\u00ebr t\u00eb realizmit socialist.<\/p>\n

P\u00ebr sa i p\u00ebrket filmit \u201cT\u2019padashtun<\/em>\u201d, n\u00eb rolet dyt\u00ebsore spikat vet\u00eb autori e askush tjet\u00ebr. Autori, n\u00eb rolin e serbit t\u00eb dyshuar p\u00ebr p\u00ebrdhunimin e mamas\u00eb s\u00eb Albanit, i dyshuar ndoshta edhe si baba i mundsh\u00ebm biologjik p\u00ebr Albanin. Edon Rizvanolli shfaq n\u00eb film krejt mish\u00ebrimin e individit serb: agresiv edhe n\u00eb paqe, intrigant edhe pa shkak, me prirje dinak\u00ebrie n\u00eb p\u00ebrvet\u00ebsimin e di\u00e7kaje, edhe pa e merituar.<\/p>\n

Qasja-trajtimi<\/strong><\/p>\n

Krijimi i skenarit dhe regjis\u00eb nj\u00ebkoh\u00ebsisht, sa \u00e7\u2019mund t\u00eb mendohet se krijon leht\u00ebsi n\u00eb realizim, po aq rezulton i paarritsh\u00ebm plot\u00ebsisht p\u00ebr krijuesit, ca m\u00eb tep\u00ebr p\u00ebr ata t\u00eb cil\u00ebt guxojn\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb filmin me metrazh t\u00eb gjat\u00eb.<\/p>\n

Filmi \u201cDita z\u00eb fill\u201d \u00ebsht\u00eb nj\u00eb film q\u00eb lidhet ngusht\u00ebsisht me realitetin, ndon\u00ebse par\u00eb nga nj\u00eb k\u00ebnd shum\u00eb i ngusht\u00eb. Gjithashtu, vjen me munges\u00eb si t\u00eb konfliktit t\u00eb brendsh\u00ebm, ashtu edhe atij t\u00eb jasht\u00ebm te personazhi kryesor.<\/p>\n

Skena e murit, fund e krye, nuk p\u00ebrb\u00ebn aspak nj\u00eb gjetje, si nga pik\u00ebpamja narratologjike, po ashtu edhe nga qasja regjisoriale. P\u00ebrkundrazi. Nd\u00ebrtimi i murit sh\u00ebrben si nj\u00eb goditje p\u00ebrfundimtare ndaj filmit.<\/p>\n

Filmi \u201cT\u2019padashtun<\/em>\u201d vjen me nj\u00eb subjekt shum\u00eb t\u00eb thjesht\u00eb, ndon\u00ebse intriga \u00ebsht\u00eb e p\u00ebrfshir\u00eb brenda tij. Lidhur me koh\u00ebn rr\u00ebfimore, ai p\u00ebrpiqet q\u00eb p\u00ebrmes shikimit kah e ardhmja t\u00eb na jap\u00eb t\u00eb kaluar\u00ebn dhe shohim se si e sotmja ka ngelur peng i s\u00eb djeshmes. Lind pyetja: sa prek\u00ebs \u00ebsht\u00eb ky film p\u00ebr dik\u00eb q\u00eb nuk mban q\u00ebndrim subjektiv. Pra, secilit prej nesh (shqiptar\u00ebve t\u00eb p\u00ebrk\u00ebtej dhe p\u00ebrandej kufirit) \u00e7do e dh\u00ebn\u00eb q\u00eb ka lidhje me luft\u00ebn n\u00eb Kosov\u00eb i shkakton dhimbje. \u00c7\u00ebshtja shtrohet, n\u00ebse ky film zgjon ndjesi te dikush i cili nuk ka lidhje gjaku, gjuhe, zakonesh. Pra, a arrin filmi t\u00eb ket\u00eb vler\u00eb t\u00eb p\u00ebrgjithshme (universale)? Frika thot\u00eb se jo. T\u00eb pakt\u00ebn, jo mjaftuesh\u00ebm.<\/p>\n

Ajo q\u00eb vihet re \u00ebsht\u00eb se secili nga dy filmat i p\u00ebrngjet m\u00eb tep\u00ebr nj\u00eb etydi t\u00eb tejzgjatur artificialisht sesa nj\u00eb filmi me metrazh t\u00eb gjat\u00eb, i cili ka nj\u00eb ngjarje p\u00ebr t\u00eb rr\u00ebfyer, ca m\u00eb pak shum\u00ebp\u00ebrfshir\u00ebse.<\/p>\n

N\u00eb t\u00eb dy filmat n\u00eb fjal\u00eb, p\u00ebrpjekja p\u00ebr t\u2019i dh\u00ebn\u00eb k\u00ebndv\u00ebshtrim t\u00eb gjer\u00eb e t\u00eb shumansh\u00ebm pasqyrimit t\u00eb realitetit, rezulton e d\u00ebshtuar.<\/p>\n

Shum\u00ebp\u00ebrfshirja e dukurive sociale te \u201cDita z\u00eb fill<\/em>\u201d \u00ebsht\u00eb paraqitur me nj\u00eb mizansken\u00eb k\u00ebtu e nj\u00eb aty – p\u00ebr shembull, kund\u00ebrshtia e dukshme midis arkitektur\u00ebs s\u00eb tmerrshme t\u00eb Tiran\u00ebs nga nj\u00eb an\u00eb dhe cop\u00ebz\u00ebs s\u00eb mbetur natyrore t\u00eb Liqenit Artificial nga ana tjet\u00ebr; pasqyrimi i veprimit n\u00ebn dor\u00eb (korrupsionit), pasiv dhe atij aktiv ku, pa dyshim, protagonistja i p\u00ebrket t\u00eb dytit.<\/p>\n

Po k\u00ebshtu, filmi \u201cT\u2019padashtun<\/em>\u201d zgjedh udh\u00ebtimin p\u00ebr n\u00eb Kosov\u00eb t\u00eb dy protagonist\u00ebve vet\u00ebm e vet\u00ebm p\u00ebr t\u00eb paraqitur gjendjen e pasluft\u00ebs, zhg\u00ebnjimin e ndryshimeve q\u00eb priteshin e s\u2019po vijn\u00eb.<\/p>\n

Nj\u00eb tjet\u00ebr e met\u00eb n\u00eb k\u00ebta dy filma dhe p\u00ebrgjith\u00ebsisht n\u00eb kineman\u00eb shqiptare t\u00eb 2-3 dhjet\u00ebvje\u00e7ar\u00ebve t\u00eb fundit madje, \u00ebsht\u00eb dialogu i munguar, dialogu i p\u00ebrgjysmur. Me vend e pa vend krijohen pika reticence (…), pra, mendimi, fjala ngelet pezull, ashtu, pa nj\u00eb q\u00ebllim… duke krijuar k\u00ebshtu p\u00ebrshtypjen e qenieve njer\u00ebzore anormale. Dialogu i munguar do t\u00eb rezultonte nj\u00eb zgjedhje e mir\u00eb, n\u00ebse fjal\u00ebn do ta z\u00ebvend\u00ebsonte veprimi, por kjo s\u2019ndodh.<\/p>\n

Te filmi \u201cDita z\u00eb fill<\/em>\u201d zgjedhja e murosjes \u00ebsht\u00eb nj\u00eb zgjedhje kaq pak e mir\u00ebmenduar, p\u00ebr arsye se kjo zgjidhje e gjendjes vet\u00ebm sa e nd\u00ebrlikon dhe e p\u00ebrkeq\u00ebson gjith\u00e7ka. E b\u00ebn filmin t\u2019i p\u00ebrngjaj\u00eb nj\u00eb etydi dram\u00eb-horror! Violeta nuk jeton n\u00eb xhung\u00ebl, porse n\u00eb nj\u00eb zon\u00eb urbane (ndon\u00ebse ky urbanizim duket si nj\u00eb lloj edhe m\u00eb i sh\u00ebmtuar xhungle…). Pra, zgjidhja e saj p\u00ebrve\u00e7se nuk \u00ebsht\u00eb e mir\u00eb, nuk \u00ebsht\u00eb as e men\u00e7ur, duke iu p\u00ebrmbajtur pakujdesis\u00eb me t\u00eb cil\u00ebn vepron. N\u00ebse do t\u00eb merrnim parasysh se ky veprim kryhet n\u00ebn ndikimin e panikut, rikujtojm\u00eb se paniku, jo vet\u00ebm q\u00eb nuk ndihet n\u00eb k\u00ebt\u00eb personazh, por p\u00ebrkundrazi, protagonistja shfaqet e qet\u00eb dhe gjakftoht\u00eb p\u00ebrher\u00eb (T\u00eb vetmin shp\u00ebrthim t\u00eb mundsh\u00ebm e realizon fshesa e korrentit…).<\/p>\n

Nuk jepet n\u00eb asnj\u00eb \u00e7ast vrasja e s\u00eb moshuar\u00ebs prej saj, megjithat\u00eb, edhe pa kryer vrasjen e gruas s\u00eb vjet\u00ebr, thjesht duke e murosur at\u00eb, ajo shihet drejtp\u00ebrdrejt si nj\u00eb kriminele. Nj\u00eb grua e cila synon t\u00eb ngrej\u00eb folen\u00eb e vet mbi tragjedin\u00eb e nj\u00eb familjeje tjet\u00ebr. Viktim\u00eb jo vet\u00ebm e fatit, por edhe e zgjedhjeve t\u00eb veta, Violeta nuk p\u00ebrb\u00ebn tjet\u00ebr ve\u00e7se nj\u00eb prototip antipatik t\u00eb d\u00ebrrmuar tiparesh karakteriale dhe rrethanash shoq\u00ebrore.<\/p>\n

Te filmi \u201cT\u2019padashtun<\/em>\u201d mund t\u00eb cil\u00ebsohet romantike zgjedhja e Rizvanollit q\u00eb Kosov\u00ebn e mish\u00ebron p\u00ebrmes personazhit fem\u00ebr, s\u00eb \u00ebm\u00ebs s\u00eb Albanit: e d\u00ebrrmuar, por ende e bukur; e dhunuar, por me gjer\u00ebsi shpirt\u00ebrore. Shprehja n\u00eb buz\u00ebt e saj, th\u00ebn\u00eb t\u00eb birit, Albanit: \u201cKam dasht\u00eb me t\u00eb myt, ama tash t\u00eb du!\u201d \u00ebsht\u00eb nj\u00eb shprehje q\u00eb thot\u00eb shum\u00eb dhe me aft\u00ebsin\u00eb p\u00ebr t\u00eb z\u00ebn\u00eb vend n\u00eb kujtes\u00ebn e shikuesit.<\/p>\n

N\u00eb k\u00ebt\u00eb linj\u00eb ndjeshm\u00ebrie vjen edhe emri Alban, p\u00ebrmendja e emrit t\u00eb t\u00eb cilit ka ngarkes\u00eb ideo-emocionale. Djaloshit i rrjedh n\u00eb vena edhe gjak serbi, porse ai quhet Alban, dhe me shum\u00eb mund\u00ebsi nuk mund ta fal\u00eb t\u00eb atin serb (kushdo qoft\u00eb ai).<\/p>\n

Nuk del jasht\u00eb linj\u00ebs romantike as fataliteti i dashuris\u00eb s\u00eb dy t\u00eb rinjve. Mes tyre nuk shk\u00ebndijon kurrfar\u00eb lig\u00ebsie, ve\u00e7se rr\u00ebnj\u00ebt e tyre jan\u00eb t\u00eb mpleksura hidhur. Do t\u00eb duhet shum\u00eb koh\u00eb q\u00eb Kosova t\u00eb rip\u00ebrt\u00ebrihet prej dhimbjeve t\u00eb luft\u00ebs dhe pasojat e saj (n\u00eb realitet dhe n\u00eb film) jan\u00eb ende t\u00eb dukshme: nuk ndihet qet\u00ebsim te Zana, ashtu si nuk ndihet pendim tek agresori i saj, serbi.<\/p>\n

Te filmi \u201cDita z\u00eb fill<\/em>\u201d shemb\u00ebllen kaq fals d\u00ebnimi me aksidentim i vajz\u00ebs q\u00eb braktis n\u00ebn\u00ebn. I bie q\u00eb t\u00eb sh\u00ebnoj\u00eb pik\u00ebn kulmore t\u00eb filmit. Kaq e pamenduar kjo l\u00ebvizje. Pasi, ting\u00ebllon si sajes\u00eb dhe sepse nuk \u00ebsht\u00eb ndodhi q\u00eb lidhet drejtp\u00ebrdrejt me jet\u00ebn e Violet\u00ebs. Nuk \u00ebsht\u00eb drama e saj dhe s\u2019ka pse t\u00eb lidhet me k\u00ebt\u00eb dram\u00eb zgjidhja e jet\u00ebs s\u00eb saj dhe filmit po ashtu.<\/p>\n

Te filmi \u201cT\u2019padashtun<\/em>\u201d, sa e dob\u00ebt \u00ebsht\u00eb skena e largimit nga qyteti, p\u00ebr t\u2019u shmangur lidhja e dy t\u00eb rinjve! Sa pak bind\u00ebse dhe sa pak origjinale!<\/p>\n

Por \u00e7far\u00eb i bashkon p\u00ebr s\u00eb keqi e p\u00ebr s\u00eb miri filmat n\u00eb fjal\u00eb?<\/p>\n

Mungesa e befasis\u00eb, mungesa e mbajtjes s\u00eb frym\u00ebmarrjes pezull, kthesa dramatike e munguar, si te nj\u00ebri film, edhe te tjetri shkaktojn\u00eb lodhje dhe p\u00ebrqendrim t\u00eb ul\u00ebt te shikuesi.<\/p>\n

Nd\u00ebrkoh\u00eb q\u00eb teknikisht filmat n\u00eb fjal\u00eb jan\u00eb t\u00eb realizuar mir\u00eb. \u201cDita z\u00eb fill<\/em>\u201d \u00ebsht\u00eb nj\u00eb film ku spikasin planet e goditura. Mizanskena e zgjedhur, shpeshher\u00eb mbresl\u00ebn\u00ebse, p\u00ebrkon me realitetin (Jan\u00eb p\u00ebrdorur planet fikse, p\u00ebrpos asaj t\u00eb fundit, kamer\u00ebs lundruese, e cila e d\u00ebmton k\u00ebndv\u00ebshtrimin e shikuesit, meq\u00eb ai \u00ebsht\u00eb m\u00ebsuar p\u00e1ras me kamer\u00ebn statike).<\/p>\n

Filmi \u201cT\u2019padashtun<\/em>\u201d karakterizohet nga p\u00ebrdorimi i kamer\u00ebs lundruese, nga planet e p\u00ebrgjithshme, ve\u00e7se mizanskena nuk ka qen\u00eb p\u00ebrpar\u00ebsi e veprimet vijn\u00eb ngadalsh\u00ebm.<\/p>\n

Fundi<\/strong><\/p>\n

\u00c7far\u00eb i bashkon dhe i ndan filmat s\u00eb fundmi? Vet\u00eb mbyllja e tyre. T\u00eb dy mbyllen zymt\u00ebsisht. Moti i zymt\u00eb, horizontet plot re, ashtu si fatet e personazheve, jan\u00eb holl\u00ebsi pamore te t\u00eb dy filmat si nj\u00eb paraleliz\u00ebm p\u00ebr gjendjen e tashme dhe parashikimin e s\u00eb ardhmes.<\/p>\n

Por, vet\u00ebm nj\u00ebri prej tyre v\u00eb n\u00eb l\u00ebvizje mendimin p\u00ebr ta kuptuar e analizuar gjendjen n\u00eb fjal\u00eb. Mbyllja ideale p\u00ebr nj\u00eb krijim filmik \u00ebsht\u00eb ai kur shikuesi vazhdon t\u00eb mendoj\u00eb p\u00ebr t\u00eb pas shfaqjes s\u00eb titrave: \u00e7far\u00eb do t\u00eb ndodh\u00eb me fatet e personazheve?<\/p>\n

Te \u201cDita z\u00eb fill<\/em>\u201d protagonisten e pret ose burgu, ose \u00e7mendina, kurse f\u00ebmij\u00ebn e saj ose sht\u00ebpia e f\u00ebmij\u00ebs, ose rruga shum\u00eb shpejt. Pra, mbyllja nuk \u00ebsht\u00eb aspak inteligjente, aspak befasuese (\u00ebsht\u00eb e pritshme nga t\u00eb dh\u00ebnat e deriat\u00ebhershme filmike), aspak risi…<\/p>\n

Fundi i filmit, gjithashtu, nuk na b\u00ebn t\u00eb ndjesh\u00ebm p\u00ebr fundin e protagonistes. Ne nuk e shohim asnj\u00ebher\u00eb n\u00eb p\u00ebrpjekje t\u00eb pastra dhe pozitive at\u00eb. Asnj\u00ebher\u00eb Violet\u00ebs nuk i dhimbset Sofia. Sofia \u00ebsht\u00eb p\u00ebr t\u00eb burim t\u00eb ardhurash. Vet\u00ebm kaq. Asnj\u00ebher\u00eb Violeta nuk bisedon me Sofin\u00eb, nd\u00ebrsa Sofia p\u00ebrpiqet t\u00eb bisedoj\u00eb me t\u00eb m\u00eb shum\u00eb se nj\u00eb her\u00eb. N\u00ebse skenaristi ka dashur t\u00eb shpreh\u00eb di\u00e7ka t\u00eb ndryshme nga kjo, thjesht, do t\u00eb duhej ta kishte rimenduar nd\u00ebrtimin e Violet\u00ebs. Nga protagonistja s\u2019t\u00eb ngelet gj\u00eb tjet\u00ebr n\u00eb mendje p\u00ebrve\u00e7se shprehja: \u201cDuke pastruar b… e nj\u00eb plake, si do ndihem?…\u201d.<\/p>\n

E kund\u00ebrta ndodh te \u201cT\u2019padashtun<\/em>\u201d, tek i cili mbyllja e hapur p\u00ebrb\u00ebn edhe pik\u00ebn m\u00eb t\u00eb fort\u00eb t\u00eb tij: protagonistja \u00e7lirohet nga barra e fsheht\u00ebsis\u00eb p\u00ebrball\u00eb t\u00eb birit, por nga ana tjet\u00ebr, i biri i saj, n\u00eb syt\u00eb e vetvetes, por edhe t\u00eb shikuesit, zbulon se nuk \u00ebsht\u00eb as shqiptar, as serb, porse \u00ebsht\u00eb edhe shqiptar, edhe serb, fryt i nj\u00eb p\u00ebrdhunimi t\u00eb dhimbsh\u00ebm, pasoj\u00eb e luft\u00ebs, tashm\u00eb n\u00eb nj\u00eb udh\u00ebkryq edhe m\u00eb t\u00eb v\u00ebshtir\u00eb nga sa e shihte veten m\u00eb par\u00eb. Tanim\u00eb, jo vet\u00ebm i \u201cpadashtun\u201d prej t\u00eb tjer\u00ebve, por ndoshta edhe prej vetes… Lufta e fort\u00eb psikologjike dhe morale brenda nj\u00ebrit prej protagonist\u00ebve te filmi \u201cT\u2019padashtun<\/em>\u201d, thelluar n\u00eb fund t\u00eb filmit, pik\u00ebrisht n\u00eb at\u00eb koh\u00eb kur \u00e7lirohet disi nga pesha e s\u00eb kaluar\u00ebs protagonistja tjet\u00ebr, mbart edhe pesh\u00ebn m\u00eb t\u00eb fort\u00eb t\u00eb filmit. N\u00eb aspektin psikologjik, ajo \u00e7ka zien n\u00eb kok\u00ebn e Albanit \u00ebsht\u00eb e v\u00ebshtir\u00eb dhe p\u00ebshtjelluese, por interesante p\u00ebr shikuesin.<\/p>\n

Deri diku, nj\u00eb mbyllje e till\u00eb, e hapur, duket sikur b\u00ebn t\u00eb harrohet gjith\u00eb ngadal\u00ebsia e filmit.<\/p>\n

Mir\u00ebpo, autori do t\u00eb duhej t\u00eb tregohej i v\u00ebmendsh\u00ebm p\u00ebr t\u00eb mos r\u00ebn\u00eb n\u00eb p\u00ebrs\u00ebritje s\u00ebrish n\u00eb pjes\u00ebn m\u00eb t\u00eb r\u00ebnd\u00ebsishme dhe kuptimplot\u00eb t\u00eb filmit: gruaja rr\u00ebfen tmerrin e p\u00ebrjetuar p\u00ebr t\u00eb cilin shikuesi tashm\u00eb \u00ebsht\u00eb njohur para pak, madje me minutazh t\u00eb zgjeruar. Kjo e zbeh fundin, pik\u00ebrisht \u00e7asti kur fillon dhunimi. E gjith\u00eb kjo sken\u00eb duket e papranueshme, pasi i p\u00ebrket nj\u00eb fryme t\u00eb vjet\u00ebr. Duket sikur, narratoligjikisht, filmi cenohet nga retrospektiva. Ndoshta biseda me Albanin do t\u00eb ishte e mjaftueshme.<\/p>\n

Ting\u00ebllimi gjuh\u00ebsor<\/strong><\/p>\n

N\u00eb filmin me z\u00eb, nj\u00eb tipar thell\u00ebsisht ndikues n\u00eb interesin ose jo t\u00eb shikuesit p\u00ebrb\u00ebn edhe tingulli e me k\u00ebt\u00eb nuk kemi parasysh kolon\u00ebn zanore dhe, nga k\u00ebndv\u00ebshtrimi i dit\u00ebve t\u00eb sotme, dit\u00eb n\u00eb t\u00eb cilat geg\u00ebrishtja dhe tosk\u00ebrishtja jan\u00eb duke iu p\u00ebrafruar njana-tjetn\u00ebs, duke b\u00ebr\u00eb pjes\u00eb t\u00eb nj\u00ebra-tjetr\u00ebs diku nj\u00eb fjal\u00eb, diku pak theks, ajo q\u00eb bie n\u00eb sy (negativisht) \u00ebsht\u00eb gjuha e huaj apo ndikimi i gjuh\u00ebs s\u00eb suaj te personazhet.<\/p>\n

Ekziston nj\u00ebfar\u00eb arsyetimi mb\u00ebshtet\u00ebs te filmi \u201cT\u2019padashtun<\/em>\u201d, tek i cili personazhi n\u00ebn\u00eb k\u00ebrkon t\u00eb mbroj\u00eb t\u00eb birin, pasi q\u00eb, si qenie racionale dhe sociale, ajo e di se i biri i saj do t\u00eb vuaj\u00eb, n\u00ebse i tregohet e v\u00ebrteta, s\u00eb cil\u00ebs ajo i druhet aq shum\u00eb. Zana p\u00ebrpiqet t\u00eb ruaj\u00eb nj\u00eb lloj baraspeshe midis origjin\u00ebs dhe bashk\u00ebjetes\u00ebs n\u00eb nj\u00eb vend t\u00eb larg\u00ebt nga vendi am\u00eb, ndon\u00ebse biseda n\u00eb gjuh\u00eb t\u00eb huaj n\u00eb nj\u00eb familje shqiptare, sado larg Shqip\u00ebris\u00eb, p\u00ebr shumic\u00ebn e shikuesve shqiptar\u00eb nuk ting\u00ebllon e p\u00eblqyeshme (sido q\u00eb kjo ndodh edhe p\u00ebr arsye t\u00eb r\u00ebndomta n\u00eb realitet).<\/p>\n

Ve\u00e7se, n\u00eb m\u00ebnyr\u00eb krejt t\u00eb pap\u00ebrligjur ndihet ndjesh\u00ebm kjo dukuri te Violeta n\u00eb filmin \u201cDita z\u00eb fill<\/em>\u201d (sado q\u00eb pa p\u00ebrdorur gjuh\u00eb t\u00eb huaj aspak).<\/p>\n

Violeta \u00ebsht\u00eb rreth t\u00eb tridhjetave (di\u00e7ka m\u00eb shum\u00eb, di\u00e7ka m\u00eb pak); Kuptohet nga t\u00eb dh\u00ebnat e pakta n\u00eb film q\u00eb ajo jeton n\u00eb Tiran\u00eb, n\u00eb Shqip\u00ebri; Arsimin e lart\u00eb e ka kryer po n\u00eb Tiran\u00eb; N\u00eb asnj\u00eb \u00e7ast nuk na b\u00ebhet e ditur se ka qen\u00eb n\u00eb emigracion; Por as nuk mund t\u00eb jemi t\u00eb bindur p\u00ebr t\u00eb kund\u00ebrt\u00ebn (q\u00eb nuk ka qen\u00eb emigrante); Ajo e ka ushtruar profesionin e saj si infermiere n\u00eb nj\u00eb spital shtet\u00ebror n\u00eb Tiran\u00eb.<\/p>\n

Sido q\u00eb t\u00eb jet\u00eb nd\u00ebrtuar personazhi, edhe n\u00ebse ajo ka emigruar, kjo nuk mund t\u00eb ket\u00eb ndodhur p\u00ebr shum\u00eb vjet. Pra, logjikisht, ajo nuk ka arsye pse t\u00eb varet aq shum\u00eb n\u00eb theksin grek… Ndon\u00ebse vet\u00eb aktorja ka arsye t\u00eb ket\u00eb theks grek (duke qen\u00eb shtetase greke).<\/p>\n

Por, n\u00ebse Qendra Greke e Filmit e ka cil\u00ebsuar k\u00ebt\u00eb si nj\u00eb tregues t\u00eb mjaftuesh\u00ebm p\u00ebr t\u2019u varur n\u00eb zinxhirin e gjat\u00eb t\u00eb institucioneve shtet\u00ebrore shqiptare, duke e mb\u00ebshtetur financiarisht filmin n\u00eb fjal\u00eb, at\u00ebher\u00eb arsye ka, ndon\u00ebse jo prej kujtdo mund t\u00eb pranohet. \u00c7far\u00eb n\u00ebnkupton kjo? Asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7 asaj se theksi nuk mund t\u00eb blihet. E n\u00ebse blihet, do t\u00eb duhet t\u00eb blihen edhe \u00e7mimet, t\u00eb cilat, pranuar nga shum\u00ebkush tashm\u00eb (ky arsyetim nuk ngre asnj\u00eb dyshim p\u00ebr asnj\u00eb \u00e7mim n\u00eb ve\u00e7anti), nuk jan\u00eb domosdoshm\u00ebrisht tregues suksesi… qofshin k\u00ebto edhe \u00e7mime \u201cOscar\u201d, kundrejt t\u00eb cilave \u00ebsht\u00eb duke u \u00e7apitur kinematografia e sotme shqiptare…<\/p>\n

 <\/p>\n

Sh\u00ebnim<\/strong>: Autor\u00ebt e k\u00ebtij shkrimi fal\u00ebnderojn\u00eb autor\u00ebt e filmave p\u00ebr v\u00ebnien n\u00eb sh\u00ebrbim t\u00eb filmave, pa kurrfar\u00eb kusht\u00ebzimi. Rishikimi i filmave p\u00ebrtej skenave t\u00eb kinemas\u00eb ka ndihmuar vet\u00ebm n\u00eb sakt\u00ebsimin e ideve (por jo ndryshimin e tyre) dhe formulimin e qart\u00eb p\u00ebr lexuesin.<\/p>\n<\/div>\n

\n
\n

\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

P\u00ebrsiatje mbi filmat: Dita z\u00eb fill nga Shqip\u00ebria (e Greqia) dhe T`padashtun nga Kosova, propozuar p\u00ebr \u00e7mimet Oscar 2018 nga qendrat kinematografike p\u00ebrkat\u00ebse. \u201cDita z\u00eb fill\u201d; skenari dhe regjia, Gentian Ko\u00e7i. \u201cT\u2019padashtun\u201d; skenari dhe regjia, Edon Rizvanolli. Shkrimi, si m\u00eb posht\u00eb vijon, \u00ebsht\u00eb n\u00eb vetvete nj\u00eb v\u00ebshtrim krahasues mes dy filmave q\u00eb flasin shqip. Q\u00ebllimi […]<\/p>","protected":false},"author":594,"featured_media":11858,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[2264,987],"ppma_author":[259,2263],"class_list":["post-4193","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cmimet-oscar","tag-shqiperia"],"authors":[{"term_id":259,"user_id":0,"is_guest":1,"slug":"entela-bineri","display_name":"Entela Bineri","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/bineri-entela-e1698136694131.jpeg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/bineri-entela-e1698136694131.jpeg"},"user_url":"","last_name":"","first_name":"","description":""},{"term_id":2263,"user_id":594,"is_guest":0,"slug":"valmir-tertini","display_name":"Valmir Tertini","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/images.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2025\/01\/images.jpg"},"user_url":"","last_name":"Tertini","first_name":"Valmir","description":"Valmir Tertini, is a film director and winner of several important international awards, a member of the European Film Academy, has been a jury member of several international film festivals. Graduated in Media Arts in Prishtina, continued his master's degree in Film and TV Directing at the Academy of Arts in Tirana.\r\n"}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4193","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\/594"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=4193"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4193\/revisions"}],"predecessor-version":[{"id":11859,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/4193\/revisions\/11859"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/11858"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=4193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=4193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=4193"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=4193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}