{"id":5385,"date":"2019-12-24T10:39:20","date_gmt":"2019-12-24T08:39:20","guid":{"rendered":"https:\/\/sbunker.org\/?p=5385"},"modified":"2024-10-08T11:39:00","modified_gmt":"2024-10-08T09:39:00","slug":"streha-mes-reve-dhe-sharmi-i-padurueshem-i-qenies","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/streha-mes-reve-dhe-sharmi-i-padurueshem-i-qenies\/","title":{"rendered":"Streha mes Reve dhe sharmi i paduruesh\u00ebm i qenies"},"content":{"rendered":"
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Streha mes Reve dhe sharmi i paduruesh\u00ebm i qenies<\/h3>\n<\/div>\n
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A i lejohet \u2013 apo i falet \u2013 nj\u00eb regjisori si Robert Budina t\u00eb sakrifikoj\u00eb elementin e fabul\u00ebs, tregimit, n\u00eb favor t\u00eb stilit? Ka nj\u00eb harmoni elegante dhe intriguese n\u00eb diskursin vizual i filmit t\u00eb tij\u00a0Streha mes Reve<\/em>, i cili \u00ebsht\u00eb tep\u00ebr imponues dhe rezulton nga kombinimi i plan\u00ebve t\u00eb ndryshme, kompozimi poetik dhe interpretimi i shk\u00eblqyesh\u00ebm i Arben Bajraktaraj i cili \u00ebsht\u00eb po aq \u2018charming\u2019 si bari sa \u00e7do her\u00eb tjet\u00ebr!<\/p>\n

Streha mes reve<\/em>\u00a0nuk \u00ebsht\u00eb nj\u00eb histori e p\u00ebrkryer, komploti i filmit \u00ebsht\u00eb minimal, ashtu si\u00e7 \u00ebsht\u00eb dhe dialogu. Mbase n\u00eb pamje t\u00eb par\u00eb duket sikur tregimit i mungon nd\u00ebrtimi dhe kohezioni, dhe gjith\u00e7ka i jep filmit nj\u00eb estetik\u00eb statike, por aktualisht nuk kemi nevoj\u00eb p\u00ebr asgj\u00eb m\u00eb tep\u00ebr se sa filmi tashm\u00eb na jep p\u00ebr t\u00eb kuptuar se p\u00ebr \u00e7far\u00eb po b\u00ebhet fjal\u00eb: njeriu i l\u00ebnduar nga hidhurit\u00eb e jet\u00ebs gjen streh\u00eb n\u00eb hap\u00ebsir\u00eb larg konflikteve njer\u00ebzore t\u00eb cilat, si\u00e7 na tregon shembulli i familjes t\u00eb Besnikut, i largojn\u00eb njer\u00ebzit nga nj\u00ebri tjetrin, i b\u00ebn t\u00eb harrojn\u00eb sesi t\u00eb duan nj\u00ebri tjetrin. Ritmi i ngadalt\u00eb i tregimit i jep nj\u00eb ton poetik, rrjedh si vargjet e nj\u00eb poezie, por n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb ai funksionon edhe si nj\u00eb vajtim p\u00ebr humbjen e komunikimit mes njer\u00ebzve \u2013 ideja kryesore e filmit.<\/p>\n

Megjithat\u00eb, kjo histori jo e p\u00ebrsosur \u00ebsht\u00eb filmuar n\u00eb nj\u00eb m\u00ebnyre fantastike, dhe kjo e b\u00ebn nj\u00eb film t\u00eb bukur. Ka nj\u00eb cil\u00ebsi \u2018painterly\u2019 (piktorike) dhe nj\u00eb ekzagjerim n\u00eb stilin vizual q\u00eb konsiston aq n\u00eb nd\u00ebrtimin dhe portretizimin shembullor t\u00eb rrethanave t\u00eb protagonistit Besnik sa edhe n\u00eb manierizmat dhe gjestet e tij. Kamera e nd\u00ebrton dhe e trajton peizazhin si nj\u00eb personazh kryesor, dhe ngadal\u00eb e fikson at\u00eb n\u00eb memorien ton\u00eb p\u00ebrmes nj\u00eb larmie planeve fikse, t\u00eb gjer\u00eb dhe t\u00eb larg\u00ebta t\u00eb cilit kan\u00eb nj\u00eb funksion p\u00ebrgjith\u00ebsisht p\u00ebrshkrues. Peizazhi figuron si Kopshti i Edenit \u2013 v\u00ebrtet, \u00ebsht\u00eb si nj\u00eb \u2018paradise lost\u2019 (nj\u00eb parajs\u00eb e humbur, n\u00eb fjal\u00ebt e poetit anglez t\u00eb shekullit XVII John Milton) \u2013 dhe brenda tij Besniku gjendet nj\u00ebher\u00ebsh i humbur dhe i shp\u00ebtuar; ku tjet\u00ebr mund t\u00eb shkonte vall\u00eb!<\/p>\n

Ndoshta edhe un\u00eb vet\u00eb po ekzagjeroj (me q\u00ebllim!) kur them se \u00e7do personazh dhe \u00e7do histori e vog\u00ebl brenda filmit \u2013 si dhe \u00e7do cop\u00ebz toke \u2013 funksionon si nj\u00eb k\u00ebmb\u00ebsor, \u00ebsht\u00eb aty p\u00ebr t\u00eb na ndihmuar t\u00eb kuptojm\u00eb plot\u00ebsisht personazhin e Arbenit i cili bazohet plot\u00ebsisht tek interpretimi i tij\u2013 ai mish\u00ebron njeriun t\u00eb humbur n\u00eb vetvete dhe na b\u00ebn t\u00eb harrojm\u00eb aktorin dhe t\u00eb mbajm\u00eb mend vet\u00ebm personazhin. (Jan\u00eb t\u00eb rrall\u00eb filmat me komplot minimal q\u00eb bazohen plot\u00ebsisht tek interpretimi i aktor\u00ebve. Nj\u00eb shembull \u00ebsht\u00eb filmi\u00a0The Revenant\u00a0<\/em>(2015) n\u00eb t\u00eb cilin Leonardo Di Caprio arriti apotez\u00ebn e karrier\u00ebs s\u00eb tij dhe fitoi \u00e7mimin Oscar p\u00ebr aktorin m\u00eb t\u00eb mir\u00eb pasi ai dha nj\u00eb performanc\u00eb t\u00eb p\u00ebrkryer). Cil\u00ebsia e nj\u00eb aktori duket tek m\u00ebnyra sesi ajo ose ai i shmanget natyr\u00ebs t\u00eb pam\u00ebshirshme t\u00eb kameras dhe gjen ekuilibrin midis personazhit dhe vetvetes, at\u00ebher\u00eb l\u00ebshohet para kameras i sinqert\u00eb dhe origjinal duke na treguar madh\u00ebshtin\u00eb e aft\u00ebsis\u00eb s\u00eb tij interpretuese \u2013 n\u00eb k\u00ebt\u00eb rast, Arben Bajraktaraj tregohet v\u00ebrtet\u00a0 karizmatik. Si\u00e7 ka shkruar Vladimir Prifti, \u2018nuk ka vend ku aktori t\u00eb fshihet\u2019 kur q\u00ebndron para kameras, pra as streha mes reve nuk e shp\u00ebton dot aktorin ton\u00eb kryesor. Por ka nj\u00eb moment t\u00eb ve\u00e7ant\u00eb, unik, drejt fundit t\u00eb filmit kur kamera e tregon n\u00eb plan t\u00eb par\u00eb dhe ai ja kthen shikimin p\u00ebr disa sekonda me nj\u00eb v\u00ebshtrim shpues, \u00a0\u2013 tani kamera nuk ka vend ku t\u00eb fshihet!<\/p>\n

Edhe pse portreti i Besnikut ende mbetet i paplot\u00eb, kemi arritur t\u00eb shijojm\u00eb fragmente t\u00eb realitetit t\u00eb tij n\u00eb disa momente zbuluese. Nj\u00eb moment i till\u00eb \u00ebsht\u00eb \u00e7asti kur Vilma (Estela Pysqyli) i tregon Besnikut sesi arriti t\u00eb punoj\u00eb me restaurime pikturash pasi ajo ka studiuar p\u00ebr piktore dhe i p\u00eblqejn\u00eb gj\u00ebrat e vjetra. N\u00eb nj\u00eb m\u00ebnyre, gjesti i restaurimit \u00ebsht\u00eb nj\u00eb p\u00ebrpjekje p\u00ebr t\u2019i rikthyer t\u00eb kaluar\u00ebs, p\u00ebr ta mbajtur at\u00eb t\u00eb gjall\u00eb \u2013 p\u00ebr kundrazi Besniku do ta harroj\u00eb t\u00eb kaluar\u00ebn e tij, por nj\u00ebkoh\u00ebsisht e kaluara e tij e ndjek dhe e traumatizon. Nj\u00eb cop\u00eb druri e p\u00ebrpunuar n\u00eb nj\u00eb imazh q\u00eb ai ka n\u00eb mendje \u00ebsht\u00eb e vetmja gj\u00eb q\u00eb i kujton at\u00eb q\u00eb ka humbur n\u00eb jet\u00eb, \u00ebsht\u00eb nj\u00eb shenj\u00eb e nj\u00eb dashurie t\u00eb humbur. Njeriu gjithmon\u00eb ka patur nevoj\u00eb t\u00eb kthej\u00eb \u00e7do gj\u00eb q\u00eb adhuron n\u00eb idhull, \u00ebsht\u00eb nj\u00eb instinkt i lasht\u00eb q\u00eb i reziston koh\u00ebs, dhe Besniku ka nevoj\u00eb p\u00ebr idhullin e tij n\u00eb tempullin e tij, te kjo parajs\u00eb e humbur mes reve ku \u00e7do gj\u00eb mbetet ashtu si\u00e7 e gjet\u00ebm n\u00eb sken\u00ebn t\u00eb par\u00eb.<\/p>\n<\/div>\n

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Streha mes Reve dhe sharmi i paduruesh\u00ebm i qenies A i lejohet \u2013 apo i falet \u2013 nj\u00eb regjisori si Robert Budina t\u00eb sakrifikoj\u00eb elementin e fabul\u00ebs, tregimit, n\u00eb favor t\u00eb stilit? Ka nj\u00eb harmoni elegante dhe intriguese n\u00eb diskursin vizual i filmit t\u00eb tij\u00a0Streha mes Reve, i cili \u00ebsht\u00eb tep\u00ebr imponues dhe rezulton nga […]<\/p>","protected":false},"author":414,"featured_media":7966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9],"tags":[],"ppma_author":[773],"class_list":["post-5385","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opinion"],"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\/5385","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=5385"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5385\/revisions"}],"predecessor-version":[{"id":8087,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5385\/revisions\/8087"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/7966"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5385"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5385"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5385"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5385"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}