{"id":5987,"date":"2020-04-21T15:24:21","date_gmt":"2020-04-21T13:24:21","guid":{"rendered":"https:\/\/sbunker.org\/?p=5987"},"modified":"2024-10-15T15:34:10","modified_gmt":"2024-10-15T13:34:10","slug":"dita-ze-fill-ne-kohen-e-covid-19","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/dita-ze-fill-ne-kohen-e-covid-19\/","title":{"rendered":"Dita z\u00eb fill n\u00eb koh\u00ebn e Covid-19"},"content":{"rendered":"
\n

Kishte di\u00e7ka t\u00eb ndryshme duke shikuar p\u00ebrs\u00ebri filmin \u2018Dita z\u00eb fill\u2019 n\u00eb koh\u00ebn e Covid-19 \u2013 n\u00eb koh\u00ebn e pasiguris\u00eb ekonomike! P\u00ebrmes situat\u00ebs s\u00eb v\u00ebshtir\u00eb q\u00eb po jetojm\u00eb koh\u00ebn e fundit n\u00eb lidhje me koronavirusin dhe ndikimin socio-ekonomik q\u00eb ka pasur kudo q\u00eb \u00ebsht\u00eb p\u00ebrhapur, ARTALB FILM PRODUCTIONS njoftoi publikun, p\u00ebrmes platform\u00ebs Facebook, se filmi tani m\u00eb \u00ebsht\u00eb i hapur online p\u00ebr ta par\u00eb. Filmi ishte kandidatura zyrtare e Shqip\u00ebris\u00eb p\u00ebr kategorin\u00eb e Filmit m\u00eb t\u00eb mir\u00eb t\u00eb huaj n\u00eb edicionin e 90-t\u00eb t\u00eb Academy of Motion Picture Arts and Sciences, protagonistja Ornela Kapetani fitoi \u00e7mimin \u2018Aktorja m\u00eb e mir\u00eb\u2019 n\u00eb Sarajevo Film Festival, dhe regjisori Gentian Ko\u00e7i fitoi \u00e7mimin \u2018Regjisori m\u00eb i mir\u00eb\u2019 n\u00eb edicionin e 15-t\u00eb t\u00eb Tirana International Film Festival.<\/p>\n

Dita z\u00eb fill \u00ebsht\u00eb nj\u00eb histori q\u00eb mbi t\u00eb gjitha tregon se sa e brisht\u00eb \u00ebsht\u00eb busulla morale e njeriut, nj\u00eb dram\u00eb psikologjike, e trisht\u00eb dhe e fuqishme, d\u00ebshp\u00ebruese dhe pesimiste, disi e lodhshme n\u00eb disa aspekte por edhe shum\u00eb prek\u00ebse n\u00eb aspekte t\u00eb tjera. Regjisori Gentian Ko\u00e7i ka kaluar nga dokumentari tek filmi artistik duke ruajtur stilin e vet dhe t\u00eb nj\u00ebjt\u00ebn entuziaz\u00ebm p\u00ebr\u00a0storytelling<\/em>. Fabula jepet n\u00eb 5 minutat e para: Leta nuk ka mund\u00ebsi t\u00eb paguaj\u00eb qiran\u00eb e apartamentit ku ajo jeton me djalin e saj, dhe \u00ebsht\u00eb n\u00eb nj\u00eb pozit\u00eb t\u00eb v\u00ebshtir\u00eb duke qen\u00eb pa pun\u00eb \u2013 dhe para se t\u00eb kemi shansin t\u00eb shqet\u00ebsohemi p\u00ebr fatin e saj, ajo po diskuton me Arian\u00ebn, e cila po i ofron pun\u00eb si kujdestare p\u00ebr t\u00eb \u00ebm\u00ebn e saj t\u00eb s\u00ebmur\u00eb, nj\u00eb pun\u00eb q\u00eb u prezantua kaq shpejt n\u00eb fillim t\u00eb tregimit si nj\u00eb lloj nd\u00ebrhyrje hyjnore dhe i jep Let\u00ebs pak shpres\u00eb. N\u00eb vazhdim filmi \u00ebsht\u00eb nj\u00eb akumulim aktesh t\u00eb p\u00ebrditshme, nj\u00eb kolazh imazhesh \u2013 n\u00eb sht\u00ebpi duke b\u00ebr\u00eb pun\u00eb ose duke u kujdesur p\u00ebr Sophien, n\u00eb spital, n\u00eb farmaci, n\u00eb dyqani i lagjes t\u00eb cilit i shtojn\u00eb tregimit nj\u00eb sens natyror. Por, n\u00eb kombinim me dialog\u00ebt lakonik\u00eb kjo rezulton n\u00eb nj\u00eb tregim t\u00eb ngadalsh\u00ebm, aq sa, disa her\u00eb duket kaq i fiksuar me detajet p\u00ebr t\u00eb p\u00ebrcjell\u00eb t\u00eb p\u00ebrditshmen dhe p\u00ebr t\u00eb ndihmuar t\u00eb nd\u00ebrtoj\u00eb me v\u00ebrtet\u00ebsi skena rreth personazhit kryesor, sa na b\u00ebn t\u00eb p\u00ebrpiqemi t\u00eb ndjekim tem\u00ebn kryesore.<\/p>\n

Organizimi hap\u00ebsinor t\u00eb planeve synon drejt nj\u00eb q\u00ebllimi kryesor \u2013 t\u00eb sjell\u00eb n\u00eb pah dhe t\u00eb fiksoj\u00eb gjendjen psikologjike t\u00eb personazhit kryesor, Leta, dhe n\u00ebp\u00ebrmjet k\u00ebtij shkall\u00ebzimi planesh t\u00eb shohim d\u00ebshp\u00ebrimin e saj. Megjithat\u00eb, me p\u00ebrjashtim t\u00eb sken\u00ebs n\u00eb dush ku Leta shp\u00ebrthen n\u00eb lot, ajo q\u00ebndron krejt\u00ebsisht si nj\u00eb fortes\u00eb e padep\u00ebrtueshme, e mbyllur hermetikisht, \u00a0\u2013 tamam si muri q\u00eb nd\u00ebrtoi brenda sht\u00ebpis\u00eb s\u00eb Sophias ku ajo tani jeton bashk\u00eb me djalin e saj nj\u00ebvje\u00e7ar. N\u00ebse duam t\u2019i shtojm\u00eb nj\u00eb dimension poetik tregimit, mund t\u00eb sugjerojm\u00eb se muri funksionon si nj\u00eb alegori e q\u00ebndrimit t\u00eb Let\u00ebs ndaj v\u00ebshtir\u00ebsiv\u00eb q\u00eb ajo po p\u00ebrjeton \u2013 nj\u00eb\u00a0single mum<\/em>, pa mb\u00ebshtetje, n\u00eb pamund\u00ebsi p\u00ebr t\u00eb p\u00ebrballuar jet\u00ebn, \u00ebsht\u00eb shnd\u00ebrruar n\u00eb nj\u00eb njeri pa shprehje dhe pa shpres\u00eb, nj\u00eb\u00a0tableau noir<\/em>.<\/p>\n

Interpretimi i aktores Ornela Kapetani ka arritur t\u00eb krijoj\u00eb karakterin-fortes\u00eb me besueshm\u00ebri, por problemi q\u00ebndron se kjo shkakton nj\u00eb mosp\u00ebrputhje midis asaj q\u00eb regjisori ka dashur t\u00eb arrij\u00eb p\u00ebrmes planeve q\u00eb ka zgjedhur t\u00eb p\u00ebrdor\u00eb dhe zbraz\u00ebtis\u00eb n\u00eb portretin e karakterit t\u00eb saj q\u00eb i reziston ende. Filmi mundohet t\u00eb na b\u00ebj\u00eb pjes\u00ebmarr\u00ebs aktiv\u00eb duke na ftuar brenda dhe af\u00ebr personazhit nd\u00ebrsa Leta vazhdimisht na p\u00ebrball me nj\u00eb fytyr\u00eb bosh, dhe k\u00ebtu q\u00ebndron thyerja e brendshme strukturore e filmit. Regjisori \u00ebsht\u00eb shprehur se shumica e skenave zhvillohen brenda n\u00eb vende t\u00eb mbyllur p\u00ebr t\u00eb lejuar kamer\u00ebn t\u2019i afrohet personazheve dhe t\u00eb tregoj\u00eb zhvillimin e tyre, dhe v\u00ebrtet n\u00eb p\u00ebrgjith\u00ebsi kjo \u00ebsht\u00eb nj\u00eb teknik\u00eb e suksesshme, por jo n\u00eb rastin e Let\u00ebs \u2013 ajo ende \u00ebsht\u00eb nj\u00eb personazh i r\u00ebndomt\u00eb, statik, gj\u00eb q\u00eb \u00ebsht\u00eb jasht\u00ebzakonisht e lodhshme p\u00ebr nj\u00eb spektator q\u00eb do t\u00eb identifikohet me t\u00eb si personazh kryesor. Por n\u00eb rastin e Sophias, kjo af\u00ebrsi e kamer\u00ebs me personazhin funksionon p\u00ebr mrekulli! Momenti m\u00eb i bukur dhe m\u00eb i ngarkuar emocionalisht i filmit \u00ebsht\u00eb ai kur Sophia mundohet t\u00eb heq\u00eb mask\u00ebn e oksigjenit p\u00ebr t\u2019i dh\u00ebn\u00eb fund jet\u00ebs s\u00eb saj. Por momentin e fundit ndalon, shikon Let\u00ebn t\u00eb shtrit\u00eb n\u00eb divan me f\u00ebmij\u00ebn e saj t\u00eb vog\u00ebl, dhe me nj\u00eb gjest krejt vet\u00ebmohues tregon se \u00ebsht\u00eb aq zem\u00ebrmir\u00eb sa zgjodhi mir\u00ebqenien e Let\u00ebs mbi lirin\u00eb e saj nga dhimbja dhe s\u00ebmundja. Dhe p\u00ebr k\u00ebt\u00eb nuk iu desh as nj\u00eb fjal\u00eb! Pra, busulla morale e njeriut mund t\u00eb jet\u00eb po aq e brisht\u00eb sa dhe e pathyeshme. Nj\u00eb sken\u00eb e ve\u00e7ant\u00eb dhe absolutisht \u00e7liruese.<\/p>\n

N\u00eb p\u00ebrpjekje p\u00ebr ta dramatizuar m\u00eb tep\u00ebr skenarin, Ko\u00e7i ka shtuar nj\u00eb dramacitet t\u00eb papritur n\u00eb fund t\u00eb filmit, ndoshta nj\u00eb truk i guximsh\u00ebm, por q\u00eb krijon problemet e veta rreth besueshm\u00ebris\u00eb. Gjithsesi, mbase \u00ebsht\u00eb thjesht nj\u00eb truk sip\u00ebrfaq\u00ebsor p\u00ebr t\u00eb justifikuar eliminimin e Let\u00ebs m\u00eb n\u00eb fund, i cili ka arsye m\u00eb t\u00eb thella: shoq\u00ebria jon\u00eb \u00ebsht\u00eb ende nj\u00eb shoq\u00ebri patriarkale dhe mjaft e rrept\u00eb p\u00ebr t\u2019i falur nj\u00eb gruaje t\u00eb pamartuar q\u00eb \u00ebsht\u00eb n\u00ebn\u00eb e nj\u00eb f\u00ebmije, marr\u00ebdh\u00ebnie seksuale! Duhet disi t\u00eb d\u00ebnohet p\u00ebr aktin e saj! Gj\u00eb q\u00eb \u00ebsht\u00eb ironike – pse na k\u00ebrkohet t\u00eb simpatizojm\u00eb me Let\u00ebn gjat\u00eb gjith\u00eb filmit kur n\u00eb fund ne duhet t\u00eb ndahemi nga ajo! \u00cbsht\u00eb tep\u00ebr mizore p\u00ebr spektatorin! Fatkeq\u00ebsisht, fundi i filmit frenon q\u00ebllimin e tregimit t\u00eb portretizoj\u00eb sinqerisht dhe pa gjykim ndeshjen e nj\u00eb gruaje t\u00eb vetmuar me jet\u00ebn moderne \u2013 dhe k\u00ebshtu miraton dhe p\u00ebrkrah idealet e shoq\u00ebris\u00eb ton\u00eb, nxjerr n\u00eb pah baz\u00ebn kulturore t\u00eb personazhit. N\u00eb nj\u00eb nivel t\u00eb dyt\u00eb, konflikti kryesor i filmit, p\u00ebrve\u00e7 atij nd\u00ebrmjet heroit dhe problematik\u00ebs kryesore q\u00eb zot\u00ebron historin\u00eb, \u00ebsht\u00eb ai midis heroit (Leta) dhe rregullave shoq\u00ebrore t\u00eb cilat ajo i shkel dhe p\u00ebr k\u00ebt\u00eb duhet t\u00eb nd\u00ebshkohet. Gjithsesi, pavar\u00ebsisht t\u00eb metave t\u00eb tij, filmi zgjon interes te spektatori n\u00eb lidhje me problematika si\u00e7 \u00ebsht\u00eb papun\u00ebsia, familja me nj\u00eb prind, eutanazia, dhe sigurisht moraliteti.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Kishte di\u00e7ka t\u00eb ndryshme duke shikuar p\u00ebrs\u00ebri filmin \u2018Dita z\u00eb fill\u2019 n\u00eb koh\u00ebn e Covid-19 \u2013 n\u00eb koh\u00ebn e pasiguris\u00eb ekonomike! P\u00ebrmes situat\u00ebs s\u00eb v\u00ebshtir\u00eb q\u00eb po jetojm\u00eb koh\u00ebn e fundit n\u00eb lidhje me koronavirusin dhe ndikimin socio-ekonomik q\u00eb ka pasur kudo q\u00eb \u00ebsht\u00eb p\u00ebrhapur, ARTALB FILM PRODUCTIONS njoftoi publikun, p\u00ebrmes platform\u00ebs Facebook, se filmi […]<\/p>","protected":false},"author":414,"featured_media":8347,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[646,957],"ppma_author":[773],"class_list":["post-5987","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-covid-19","tag-film"],"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\/5987","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=5987"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5987\/revisions"}],"predecessor-version":[{"id":8348,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/5987\/revisions\/8348"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/8347"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=5987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=5987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=5987"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=5987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}