{"id":5399,"date":"2019-11-19T09:28:16","date_gmt":"2019-11-19T07:28:16","guid":{"rendered":"https:\/\/sbunker.org\/?p=5399"},"modified":"2024-10-08T11:37:53","modified_gmt":"2024-10-08T09:37:53","slug":"gjithcka-qe-i-duhej-ishte-nje-furgon-dhe-nje-djale","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/opinion\/gjithcka-qe-i-duhej-ishte-nje-furgon-dhe-nje-djale\/","title":{"rendered":"Gjith\u00e7ka q\u00eb i duhej ishte nj\u00eb furgon dhe nj\u00eb djal\u00eb"},"content":{"rendered":"
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Gjith\u00e7ka q\u00eb i duhej ishte nj\u00eb furgon dhe nj\u00eb djal\u00eb<\/h3>\n<\/div>\n
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Foto:\u00a0The Van<\/a><\/p>\n

Dhe k\u00ebtu vjen nj\u00eb film q\u00eb mund t\u00eb thot\u00eb aq shum\u00eb n\u00eb vet\u00ebm 15 minuta: groteskueshm\u00ebria e njer\u00ebzimit, lufta p\u00ebr mbijetes\u00eb, dashuria p\u00ebr jet\u00ebn, tmerri i humbjes, zbraz\u00ebtia e bot\u00ebs, t\u00eb gjitha k\u00ebto p\u00ebrb\u00ebjn\u00eb nj\u00eb histori ve\u00e7an\u00ebrisht t\u00eb dhunshme n\u00eb nj\u00eb m\u00ebnyr\u00eb \u00e7udit\u00ebrisht t\u00eb heshtur. Me filmin e tij\u00a0The Van<\/em>\u00a0Erenik Beqiri ka sjell\u00eb n\u00eb ekranin e madh nj\u00eb studim elegant t\u00eb dhun\u00ebs dhe dashuris\u00eb, nj\u00eb tragjedi bashk\u00ebkoh\u00ebre e cila sidoqoft\u00eb \u00ebsht\u00eb gjithashtu edhe nj\u00eb tragjedi universalisht relevante; gjith\u00e7ka q\u00eb i duhej ishte thjesht nj\u00eb furgon dhe nj\u00eb djal\u00eb. Kjo \u00ebsht\u00eb historia prek\u00ebse e nj\u00eb djali t\u00eb rri i cili ndeshet brenda nj\u00eb furgoni, p\u00ebr t\u00eb fituar lek\u00ebt q\u00eb i duhen p\u00ebr t\u00eb emigruar jasht\u00eb shtetit, bashk\u00eb me t\u00eb jatin e tij, pavar\u00ebsisht se ky i dyti refuzon ta ndjek\u00eb djalin n\u00eb Angli.<\/p>\n

Filmi krijon personazhet p\u00ebrmes nj\u00eb tensioni i cili vazhdimisht nd\u00ebrtohet n\u00eb nj\u00eb m\u00ebnyr\u00eb progresive si dhe agresive \u2013 kjo duket past\u00ebr n\u00eb m\u00ebnyr\u00ebn se si protagonisti \u2018Champ\u2019\u00a0 fillon me nj\u00eb g\u00ebrvishtje t\u00eb vog\u00ebl n\u00eb fytyr\u00ebn e tij (nj\u00eb shenj\u00eb q\u00eb tregon se ai \u00ebsht\u00eb nj\u00eb boksier i fort\u00eb, i vendosur p\u00ebr t\u00eb fituar \u00e7do ndeshje), dhe progresivisht p\u00ebrfundon me nj\u00eb fytyr\u00eb t\u00eb mavijosur dhe t\u00eb deformuar. Pra, groteskueshm\u00ebria e njer\u00ebzimit si dhe lufta p\u00ebr mbijetes\u00eb pasqyrohen past\u00ebr pik\u00ebrisht n\u00eb ky deformim dhe n\u00eb ky personazh dinamik i cili p\u00ebrfaq\u00ebson jo vet\u00ebm Shqiptarin q\u00eb k\u00ebrkon t\u2019i largohet vendit e tij, por \u00e7do njeri q\u00eb k\u00ebrkon nj\u00eb t\u00eb ardhme m\u00eb t\u00eb mir\u00eb larg vendit e vet\u00eb. Phenix Brossard na detyron ne si spektator\u00eb t\u00eb shohim t\u00eb pap\u00ebrshkrueshmen, ta ndjejm\u00eb at\u00eb n\u00eb kockat tona sa her\u00eb q\u00eb kockat e trupit t\u00eb tij thyhen n\u00eb \u00e7do ndeshje. Me disa close-ups t\u00eb fuqishme kamera na tregon at\u00eb q\u00eb fshihet pas dyerve t\u00eb mbyllura t\u00eb furgonit ku zhvillohen ndeshjet dhe na p\u00ebrplas me realitetin e nj\u00eb njeriu t\u00eb dob\u00ebt n\u00eb fush\u00ebn shoq\u00ebrore. M\u00ebnyra se si trajtohet tema e njeriut t\u00eb pafuqish\u00ebm \u00ebsht\u00eb krejt ironike pasi filmi e portretizon at\u00eb n\u00eb personazhin e nj\u00eb boksieri \u2013 nj\u00eb njeri i pafuqish\u00ebm i klas\u00ebs m\u00eb t\u00eb ul\u00ebt shoq\u00ebrore demonstron nj\u00eb vullnet t\u00eb fort\u00eb p\u00ebr mbijetes\u00eb p\u00ebrmes grushtave t\u00eb tij.<\/p>\n

Sado karakter intensiv q\u00eb \u00ebsht\u00eb Championi, n\u00eb t\u00eb v\u00ebrtet\u00eb \u00ebsht\u00eb i ati (Arben Bajraktaraj) ai q\u00eb p\u00ebrfaq\u00ebson plot\u00ebsisht dhe m\u00eb gjer\u00eb drama m\u00eb t\u00eb thella njer\u00ebzore si\u00e7 \u00ebsht\u00eb pamund\u00ebsia p\u00ebr t\u00eb vazhduar m\u00eb tej dhe pashmangshm\u00ebria e fatit. Ai vuan n\u00eb heshtje dhe arrin kulmin me aktin e tij vet\u00ebmohues n\u00eb fund t\u00eb filmit\u00a0 \u2013 pra, ja nj\u00eb karakter ekrani i cili n\u00eb nj\u00eb moment krejt monstruoz na sjell ndjenja krejt humane: ngroht\u00ebsi dhe ndjeshm\u00ebri! Sigurisht q\u00eb regjisori Erenik Beqiri me q\u00ebllim eviton t\u00eb na tregoj\u00eb aktin monstruoz, dhe sjell gjith\u00e7ka n\u00eb rreth t\u00eb plot\u00eb duke zgjedhur ta mbyll\u00eb filmin n\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb q\u00eb e fillon, me nj\u00eb ekran t\u00eb zi, duke i ngir\u00eb dy personazhet kryesor\u00eb n\u00eb krah\u00ebt e nj\u00ebri tjetrit. Gj\u00ebja e fundit q\u00eb ne shohim \u00ebsht\u00eb ky p\u00ebrqafimi i tyre, \u00ebsht\u00eb absolutisht tragjike dhe emocionuese dhe mbase n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb regjizori na jep nj\u00ebfar\u00eb shprese \u2013 spektatori ka gjithmon\u00eb nevoj\u00eb p\u00ebr t\u00eb ndjer\u00eb katharsin n\u00eb fund t\u00eb tragjedis\u00eb. Me k\u00ebt\u00eb imazhin e fundit t\u00eb p\u00ebrqafimit t\u00eb tyre filmi shp\u00ebton dinjitetin e dy personazheve n\u00eb k\u00ebt\u00eb histori jasht\u00ebzakonisht t\u00eb tmerrshme dhe kujdeset p\u00ebr natyr\u00ebn e tyre t\u00eb brisht\u00eb.<\/p>\n

At\u00ebher\u00eb, ky film q\u00eb mund t\u00eb quhet nj\u00eb protest\u00eb kund\u00ebr zbraz\u00ebtis\u00eb s\u00eb bot\u00ebs dhe tmerrit s\u00eb humbjes, na l\u00eb duke menduar se \u00e7far\u00eb mund t\u00eb ket\u00eb ndryshuar p\u00ebr t\u00eb gjith\u00eb protagonist\u00ebt e s\u00eb nj\u00ebjt\u00ebs drame q\u00eb jan\u00eb t\u00eb padukur, hije n\u00eb rrjet\u00ebn sociale. Nj\u00eb pik\u00ebpyetje e madhe na ngelet n\u00eb shpirt duke shikuar ekranin e zi, dhe nj\u00eb ndjenj\u00eb deshp\u00ebrimi pasi kemi p\u00ebrjetuar 15 minuta plot dhun\u00eb, tronditje dhe manipulim. N\u00eb fund t\u00eb fundit, p\u00ebrndryshe si mund t\u00eb ishim n\u00eb gjendje t\u00eb konceptojm\u00eb p\u00ebrdhunimin e njeriut nga natyra e eg\u00ebr e bot\u00ebs n\u00ebse nuk p\u00ebrplasemi me t\u00eb tilla ndjenja! Kjo \u00ebsht\u00eb pik\u00ebrisht mrekullia e filmit si art, dhe The Van sigurisht q\u00eb q\u00ebndron si nj\u00eb kryevep\u00ebr n\u00eb k\u00ebt\u00eb rast. N\u00ebse duam t\u00eb flasim n\u00eb nj\u00eb nivel filozofik, do t\u00eb guxoja t\u00eb sugjeroja q\u00eb e gjith\u00eb historia mund t\u00eb lexohet si nj\u00eb metafor\u00eb p\u00ebr \u2018ndeshjen\u2019 e kineastit kund\u00ebr forcave brutale t\u00eb industris\u00eb q\u00eb t\u00eb gjej\u00eb mund\u00ebsin\u00eb t\u00eb tregoj\u00eb nj\u00eb histori p\u00ebrmes imazheve \u2013 guximi i nj\u00eb\u00a0auteur<\/em>\u00a0t\u00eb v\u00ebrtet\u00eb t\u00eb komentoj\u00eb mbi nj\u00eb realitet t\u00eb v\u00ebrtet\u00eb duke iu shmangur kufizimeve t\u00eb rrethin\u00ebs s\u00eb tij.<\/p>\n

Sfida e v\u00ebrtet\u00eb n\u00eb k\u00ebt\u00eb film jasht\u00ebzakonisht t\u00eb r\u00ebnd\u00eb duhet t\u00eb ket\u00eb q\u00ebn\u00eb nevoja p\u00ebr t\u00eb ngjallur emocione t\u00eb forta duke e trajtuar tem\u00ebn me seriozitet dhe dinjitet. N\u00eb kund\u00ebrshtim me zhanrin e filmit t\u00eb boksit i cili zakonisht p\u00ebrq\u00ebndrohet tek trupi mashkullor si nj\u00eb trup jasht\u00ebzakonisht i fuqish\u00ebm, k\u00ebtu kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb trup njer\u00ebzor, t\u00eb thjesht\u00eb, t\u00eb l\u00ebnduar, t\u00eb rraskapitur, t\u00eb lodhur dhe t\u00eb d\u00ebmtuar, historia e s\u00eb cilit \u00ebsht\u00eb e thjesht\u00eb por edhe e v\u00ebshtir\u00eb. Asgj\u00eb nuk \u00ebsht\u00eb e leht\u00eb n\u00eb k\u00ebt\u00eb film. Gjat\u00eb gjith\u00eb koh\u00ebs kamera l\u00ebviz me nervoziz\u00ebm p\u00ebr t\u00eb transmetuar agonin\u00eb t\u00eb karaktereve si dhe t\u00eb spektator\u00ebve. N\u00ebse m\u00eb duhej ta p\u00ebrshkruaj filmin me pak fjal\u00eb, do thosha se \u00ebsht\u00eb kinematografikisht elegant, tematikisht sfidues,\u00a0 dhe stilistikisht i pasur.\u00a0The Van<\/em>\u00a0sigurisht na rr\u00ebmben dhe na udh\u00ebton n\u00ebp\u00ebr territore t\u00eb paeksploruara. Na premton se Erenik Beqiri do kthehet p\u00ebrs\u00ebri t\u00eb na shkund\u00eb nga vendet tona dhe t\u00eb na trondit\u00eb p\u00ebrs\u00ebri.<\/p>\n<\/div>\n

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Gjith\u00e7ka q\u00eb i duhej ishte nj\u00eb furgon dhe nj\u00eb djal\u00eb Foto:\u00a0The Van Dhe k\u00ebtu vjen nj\u00eb film q\u00eb mund t\u00eb thot\u00eb aq shum\u00eb n\u00eb vet\u00ebm 15 minuta: groteskueshm\u00ebria e njer\u00ebzimit, lufta p\u00ebr mbijetes\u00eb, dashuria p\u00ebr jet\u00ebn, tmerri i humbjes, zbraz\u00ebtia e bot\u00ebs, t\u00eb gjitha k\u00ebto p\u00ebrb\u00ebjn\u00eb nj\u00eb histori ve\u00e7an\u00ebrisht t\u00eb dhunshme n\u00eb nj\u00eb m\u00ebnyr\u00eb \u00e7udit\u00ebrisht […]<\/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-5399","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\/5399","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=5399"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5399\/revisions"}],"predecessor-version":[{"id":8085,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5399\/revisions\/8085"}],"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=5399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5399"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}