{"id":1480,"date":"2021-05-03T16:40:42","date_gmt":"2021-05-03T15:40:42","guid":{"rendered":"https:\/\/sbunker.org\/?p=1480"},"modified":"2023-12-11T15:07:05","modified_gmt":"2023-12-11T14:07:05","slug":"tradhti-me-letra-2016-dhe-vule-2019-nga-regjisori-valmir-tertini","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/analize\/tradhti-me-letra-2016-dhe-vule-2019-nga-regjisori-valmir-tertini\/","title":{"rendered":"\u201cTradhti me letra\u201d (2016) dhe \u201cVul\u00eb\u201d (2019) nga regjisori Valmir Tertini"},"content":{"rendered":"

Prologu<\/strong><\/p>\n

Regjisori Valmir Tertini ka sjell tema nga realiteti i Kosov\u00ebs p\u00ebrmes dy filmave t\u00eb realizuar n\u00ebn logon e regjis\u00eb s\u00eb tij, tema t\u00eb cilat jan\u00eb p\u00ebrjetuar, e ku p\u00ebrmes filmave t\u00eb tij, i ka jet\u00ebsuar k\u00ebto realitete.<\/p>\n

Filmat e regjisorit t\u00eb ri, Valmir Tertini, vijn\u00eb si nj\u00eb klithm\u00eb e madhe p\u00ebr realitetin e jetuar t\u00eb Kosov\u00ebs, pasi shqiptar\u00ebt e Dardanis\u00eb (Kosov\u00ebs s\u00eb sotme), i kan\u00eb nd\u00ebrtuar n\u00eb shekuj marr\u00ebdh\u00ebniet e tyre familjare dhe ato shoq\u00ebrore, n\u00eb baz\u00eb t\u00eb rregullave t\u00eb etnopsikologjis\u00eb tradicionale shqiptare.<\/p>\n

Trajtimi i dy temave t\u00eb forta p\u00ebr psik\u00ebn e shqiptarit dalin p\u00ebrtej normave t\u00eb caktuara nga vet\u00eb ata. Ngjarjet e dy filmave t\u00eb regjisorit Tertini, konkretisht, filmi: \u201cTradhti me letra\u201d dhe filmi: \u201cVul\u00eb\u201d zhvillohen n\u00eb dy shtete \u2018mike\u2019 me nj\u00ebra-tjetr\u00ebn, n\u00eb Kosov\u00eb dhe n\u00eb Gjermani.<\/p>\n

N\u00eb\u00a0ndodhurit mes\u00a0dy shteteve, ku shpeshher\u00eb ndodh edhe p\u00ebrplasja mes tyre, e kjo p\u00ebrplasje vjen si pasoj\u00eb e vij\u00ebs Lindje-Per\u00ebndim, e zhvillimeve n\u00eb kuad\u00ebr t\u00eb njer\u00ebs dhe e mungesave n\u00eb drejtim t\u00eb tjer\u00ebs, ku Kosova dihet se ka fare pak koh\u00eb e dal\u00eb nga nj\u00eb ngjarje e v\u00ebrtet\u00eb luft\u00eb dhe tmerri, e ku Gjermania pjes\u00eb e sup\u00ebrfuqive t\u00eb m\u00ebdha bot\u00ebrore, ose m\u00eb mir\u00eb t\u00eb themi \u2018motori ekonomik\u2019 bot\u00ebror, ku Kosova jo rradh\u00eb her\u00eb ka gjetur streh\u00eb. N\u00eb k\u00ebt\u00eb kontekst t\u00eb vij\u00ebs Lindje-Per\u00ebndim zhvillohen edhe ngjarjet e dy filmave.<\/p>\n

Filmi \u201cTradhti me letra\u201d hapet me nj\u00eb sken\u00eb erotike mes Annes dhe Azemit, ku mbizot\u00ebron ngjyra e zez\u00eb, si p\u00ebr t\u00eb th\u00ebn\u00eb se ky film \u00ebsht\u00eb nj\u00eb kontrast i jet\u00ebs s\u00eb t\u00eb rinjve t\u00eb Kosov\u00ebs.<\/p>\n

Filmi \u201cTradhti me letra\u201d rr\u00ebfen historin\u00eb e martesave p\u00ebr letra,\u00a0<\/a>kurse filmi \u201cVul\u00eb\u201d rr\u00ebfen p\u00ebr pap\u00ebrgjegjshm\u00ebrin\u00eb ton\u00eb si individ\u00eb n\u00eb raport me vizat. Temat e k\u00ebtyre dy fimave jan\u00eb t\u00eb lidhura ngusht\u00ebsisht si\u00e7 edhe e cek\u00ebm m\u00eb sip\u00ebr, me ballkanin Per\u00ebndimor, ku me shum\u00eb gjasa \u00ebsht\u00eb i l\u00ebn\u00eb n\u00eb harres\u00eb, jo pa dashje, nga Evropa. E n\u00eb vazhd\u00ebn e k\u00ebtij mendimi, natyrsh\u00ebm t\u00eb vin\u00eb n\u00eb mendje, vargjet e At Gjergj Fisht\u00ebs, ku p\u00ebr rastin n\u00eb fjal\u00eb jan\u00eb aq kuptimplot\u00eb:<\/p>\n

\u201cUh! Evrop\u00eb, moj kurv\u00eb e motit!<\/p>\n

Q\u00eb i re mohit, bes\u00ebs s\u00eb Zotit!<\/p>\n

Po, \u00e1 ky asht sheji i qytetnis\u00eb?<\/p>\n

Me da token e Shqypnis\u00eb,<\/p>\n

P\u00ebr me mbajt klysht\u00eb e Rusis\u00eb?\u201d…<\/p>\n

Regjisori Valmir Tertini ka guximin p\u00ebr t\u2019iu qasur fuqish\u00ebm t\u00eb dy k\u00ebtyre temave, t\u00eb cilat kan\u00eb pesh\u00eb t\u00eb lart\u00eb emocionale dhe brenda vetes jan\u00eb plag\u00eb t\u00eb hapura p\u00ebr shoq\u00ebrin\u00eb kosovare, ku\u00a0p\u00ebrjetimi njer\u00ebzor \u00ebsht\u00eb aq i madh, saq\u00eb vet\u00ebm forca e artit mund ta p\u00ebr\u00e7oj\u00eb mesazhin e tyre deri n\u00eb fund.<\/p>\n

Studiuesi Jurij Llotmani shprehej se \u201cforca e artit q\u00ebndron tjet\u00ebrkund: ajo na mund\u00ebson zgjedhjen atje ku jeta na e privon at\u00eb. Dhe, prandaj b\u00ebjm\u00eb zgjedhjen n\u00eb sfer\u00ebn e artit, duke e shp\u00ebrngulur at\u00eb nga jeta… N\u00eb lidhje me artin dhe interpretimin e tij futen edhe gjasht\u00eb tipat e t\u00eb tij q\u00eb jan\u00eb: ripordhimi i realitetit, krijimi i formave, shprehja e p\u00ebrvojave estetike, k\u00ebnaq\u00ebsia, emocioni dhe shock-u\u201d[1]<\/a><\/p>\n

T\u00eb dy filmat kalojn\u00eb s\u00eb bashku numrin treshifror p\u00ebr nga pjes\u00ebmarrja n\u00eb festival, si filmi \u201cTradhti me letra\u201d, i cili num\u00ebron 11 \u00e7mime, poashtu dhe filmi \u201cVul\u00eb\u201d deri tani num\u00ebron 11 t\u00eb tilla.<\/p>\n

Si skenarist dhe si regjisor, v\u00ebrehet qasja, k\u00ebndv\u00ebshtrimi dhe pik\u00ebshikimi i regjisorit Valmir Tertini gjat\u00eb kombinacioneve tek t\u00eb dy filmat n\u00eb fjal\u00eb.<\/p>\n

Hyrjet t\u00ebrheq\u00ebse<\/strong><\/p>\n

T\u00eb dy filmat fillojn\u00eb me skena t\u00eb nxehta, \u00e7ka do t\u00eb thot\u00eb se n\u00eb \u00e7do sken\u00eb q\u00eb shohim, karakteret e personazheve zb\u00ebrthehen gjithnj\u00eb e m\u00eb shum\u00eb. Ndjehet duksh\u00ebm kur kemi k\u00ebnaq\u00ebsin\u00eb dhe mosp\u00ebrmbushjen e partnerit n\u00eb nj\u00eb mizansken\u00eb, e ku drita reflektonte duksh\u00ebm nga ambientet e jashtme. Ngjarshm\u00ebria n\u00eb t\u00eb dy filmat \u00ebsht\u00eb se grat\u00eb e shfaqura n\u00eb skenat erotike jan\u00eb q\u00eb t\u00eb dyja shtetase gjermane. Pas atyre skenave t\u00eb nxehta, ka shum\u00eb identitete t\u00eb fshehura, burri q\u00eb tradh\u00ebton hapur gruan e tij me nj\u00eb tjet\u00ebr, kinse p\u00ebr marrjen e letrave gjermane, braktisjen e familjes dhe vazj\u00ebs s\u00eb tij, q\u00eb e kujtonte t\u00eb atin e saj p\u00ebrmes loj\u00ebrave dhe fjal\u00ebve q\u00eb i thoshte t\u00eb em\u00ebs n\u00eb Kosov\u00eb, apo tradh\u00ebti ndaj vet\u00ebs dhe vendit, vet\u00ebm e vet\u00ebm p\u00ebr t\u00eb fituar viz\u00eb.<\/p>\n

Filozofi i lasht\u00eb grek, Aristoteti, duke shpjeguar specifik\u00ebn e imitimit n\u00eb raport me historin\u00eb thoshte se historiani p\u00ebrshkruan fakte t\u00eb ndodhura realisht, kurse poeti fakte q\u00eb mund t\u00eb ndodhin ose t\u00eb p\u00ebrngjashme me t\u00eb v\u00ebrtet\u00ebn. Mes problemeve q\u00ebndrore t\u00eb k\u00ebtij reflektimi, z\u00eb vend edhe ai i katharsis-it, pastrimit m\u00eb an\u00eb t\u00eb m\u00ebshir\u00ebs dhe frik\u00ebs, q\u00eb mbetet nj\u00eb problem shum\u00eb i diskutuar. Sipas Aristotelit, vepra e artit, kur \u00ebsht\u00eb m\u00eb t\u00eb v\u00ebrtet\u00eb e till\u00eb, ngjall emocione si m\u00ebshira e terrori, apo jehona t\u00eb fuqishme morale.<\/p>\n

Duke u mb\u00ebshtetur pik\u00ebrisht n\u00eb k\u00ebt\u00eb postutat t\u00eb p\u00ebrmbledhur, themi se regjisori Tertini n\u00eb realizmin e k\u00ebtyre dy filmave e ka v\u00ebn\u00eb veten e tij n\u00eb pozicionin tridimensional: fillimisht si regjisor, si njoh\u00ebs i realitetit duke nga e rr\u00ebfyer at\u00eb, si nj\u00eb historian, pasi e merr ngjarjen nga zanafilla dhe deri e \u00e7on deri n\u00eb pik\u00ebn kulmore, dhe n\u00eb fund t\u00eb filmit ia ka arritur q\u00ebllimit q\u00eb \u00e7do shikues t\u00eb kaloj\u00eb faz\u00ebn e katharsist-it, pastrimit shpirt\u00ebror, dikush p\u00ebrmes parimeve morale, dikush p\u00ebrmes frik\u00ebs, apo dikush tjet\u00ebr p\u00ebrmes emocioneve t\u00eb forta shpirt\u00ebrore.<\/p>\n

Kulminacioni<\/strong><\/p>\n

Filmi \u201cTradhi me letra\u201d shfaq kthes\u00ebn dramatike n\u00eb ambientet e aeroportit, ku Merita- aktorja Albulena Kryeziu, p\u00ebrballet me burrin e saj t\u00eb ligjsh\u00ebm dhe me gruan e tij p\u00ebr letra. Burri i Merit\u00ebs i kishte th\u00ebn\u00eb se gruaja e tij p\u00ebr letra ishte e sh\u00ebndosh\u00eb dhe e sh\u00ebmtuar, nd\u00ebrkoh\u00eb n\u00eb aeroport ajo p\u00ebrball\u00ebt me t\u00eb v\u00ebrtet\u00ebn e madhe, ku gruaja e burrit t\u00eb saj p\u00ebr letra jo vet\u00ebm ishte shum\u00eb e bukur dhe t\u00ebrheq\u00ebse, por mbi t\u00eb gjitha ishte edhe m\u00eb e re se vet\u00eb Merita. Merita si personazh nd\u00ebrlidh\u00ebs dhe nj\u00eb nd\u00ebr personazhet ky\u00e7e n\u00eb k\u00ebt\u00eb film, kupton me k\u00ebt\u00eb rast gjith\u00e7ka dhe \u00e7do gj\u00eb, ku dhe kalon nj\u00eb friz\u00eb t\u00eb fuqishme emocionale.<\/p>\n

Rrall\u00ebher\u00eb v\u00ebrejm\u00eb n\u00eb filma dy ndjesi t\u00eb g\u00ebrshetuara n\u00eb nj\u00eb, mir\u00ebpo regjisori Tertinizs na shfaq k\u00ebt\u00eb n\u00eb filmin \u201cTradhti me letra\u201d, duke na b\u00ebr\u00eb t\u00eb ndjejm\u00eb fuqish\u00ebm karakterin e Merit\u00ebs dhe t\u00eb b\u00ebhemi pjes\u00eb e saj n\u00eb momente t\u00eb caktuara.<\/p>\n

N\u00eb filmin \u201cTradhti me letra\u201d mbizot\u00ebron kriza e vlerave morale dhe intelektuale, e p\u00ebrfytyrimeve refleksive emocionale, ku intonimi dhe ngjyrimi i k\u00ebtyre reflekseve emocionale dhe intelektuale jan\u00eb n\u00eb thelb t\u00eb zhvillimit t\u00eb ngjarjeve q\u00eb zhvillohen brenda skenave t\u00eb k\u00ebtij filmi.<\/p>\n

Kulminacioni n\u00eb fiimin \u201cVul\u00eb\u201d shfaqet n\u00eb disa forma, mir\u00ebpo arroganca e personazhit kryesor na b\u00ebn ta tejkalojm\u00eb k\u00ebt\u00eb, sikur ska ndodh asgj\u00eb, madje dhe m\u00ebdyshjet si audienc\u00eb jan\u00eb t\u00eb nj\u00ebjta, duke ndodhur shum\u00eb veprime, por sikur rr\u00ebshqasin, sikur jemi m\u00ebsuar nga problemet e p\u00ebrditshme, sikur \u00e7do gj\u00eb \u00ebsht\u00eb e perceptueshme dhe normale, sikur jemi t\u00eb zhg\u00ebnjyer dhe nga vetja po ashtu dhe nga nd\u00ebrkomb\u00ebtar\u00ebt, e shum\u00eb e shum\u00eb sikur dhe pik\u00ebpyetje t\u00eb tjera q\u00eb mbesin t\u00eb pa zgjidhura jo vet\u00ebm n\u00eb k\u00ebt\u00eb film, por edhe n\u00eb jet\u00ebn reale. Por n\u00eb fund t\u00eb fundit duhet ta pranojm\u00eb faktin se vepra e artit si p\u00ebr artistin edhe p\u00ebr at\u00eb q\u00eb p\u00ebrfiton prej saj ka veti \u00e7liruese.<\/p>\n

Filmi \u201cVul\u00eb\u201d \u00ebsht\u00eb ballafaqimi i dy shoq\u00ebrive dhe n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb i dy p\u00ebrplasjeve t\u00eb qytet\u00ebrimeve t\u00eb tyre, ku spikat nj\u00eb shoq\u00ebri e dal\u00eb nga kriza e luft\u00ebs, e ku gjetja e forc\u00ebs p\u00ebr t\u00eb nd\u00ebrtuar identitetin kulturor q\u00eb i p\u00ebrfaq\u00ebsonte, ishte m\u00eb e lart\u00eb sesa vet\u00eb p\u00ebrfitimi i nj\u00eb vize t\u00eb huaj.<\/p>\n

Por VULA e VULES \u00ebsht\u00eb prap\u00eb aeroporti, takimi pa dialog, ku shikimi i Kushtrimit me Viktorian t\u00eb l\u00eb t\u00eb kuptosh p\u00ebr nj\u00eb fund t\u00eb hapur q\u00eb vazhdimin ta mendoj\u00eb vet\u00eb publiku dhe k\u00ebtu mbyllet edhe filmi.<\/p>\n

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

Filmi \u201cTradhti me letra\u201d \u00e7do sken\u00eb e nis\u00eb dhe e mbyll pa shk\u00ebputje(oneshoot). L\u00ebvizjet vijn\u00eb natyrsh\u00ebm nga gjestikulacionet aktoriale dhe veprimet e tyre n\u00eb ambientet e caktuara; kur nuk ka dialog- ka l\u00ebvizje, kur personazhi nuk l\u00ebviz-l\u00ebviz kamera, si n\u00eb rastet:<\/p>\n

-Azemi dhe Ana s\u00eb bashku n\u00eb krevat;<\/p>\n

– Ana i k\u00ebrkon Azemit q\u00eb do t\u2019ia takoj\u00eb familjen, Azemi l\u00eb buk\u00ebn dhe ngrihet nga tavolin\u00eb;<\/p>\n

-Lidhja e Anes me Azemin, ku lidhja e tyre ndjehej se ishte p\u00ebrtej letrave, ai e ndjek An\u00ebn edhe n\u00eb dush;<\/p>\n

-Skena kur Azemi shkarkon arka n\u00eb Gjermani;<\/p>\n

-Skena kur shfaqet Merita me vajz\u00ebn dhe vajza q\u00eb p\u00ebrkund nj\u00eb kukull n\u00eb nj\u00eb djep t\u00eb vog\u00ebl;<\/p>\n

-Skena e Anes me Azemin duke ngr\u00ebn\u00eb, dhe biseda e tyre;<\/p>\n

-Skena e Merit\u00ebs me vajz\u00ebn e shtrir\u00eb, etj.<\/p>\n

Mizanskena<\/strong><\/p>\n

Stina e preferuar e Tertinit n\u00eb xhirime duket qartasi se \u00ebsht\u00eb vjeshta, ndoshta p\u00ebr shkak t\u00eb ngjyrave. Mizanskena n\u00eb k\u00ebto dy filma \u00ebsht\u00eb e err\u00ebt dhe kjo zymt\u00ebsi i p\u00ebrqafon dhe aktor\u00ebt, ku secili ka hallet e tij.<\/p>\n

Tek filmi \u201cVul\u00eb\u201d kemi nj\u00eb nd\u00ebrlidhje t\u00eb jasht\u00ebzakonshme, ku Tina (Fatlume Bunjaku) ia dhuron Viktories (Jorida Sorra) nj\u00eb unaz\u00eb n\u00eb form\u00eb Bufi (Huti). N\u00eb sken\u00ebn tjet\u00ebr shp\u00ebrfaqet dhe skulptura e tij n\u00eb zyr\u00ebn e k\u00ebsaj t\u00eb fundit. Tek filmi \u201cTradhti me letra\u201d shohim djepin, peshqirin e vendosur n\u00eb kuzhin\u00eb, ushqimin (fasulen) sob\u00ebn me dru, etj.<\/p>\n

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

N\u00ebse n\u00eb fillim shohim epsh, n\u00eb fund do qajm\u00eb. Mbyllja e filmit \u201cTradhti me letra\u201d \u00ebsht\u00eb e hidhur, lot\u00ebt tek pragu i der\u00ebs, nd\u00ebrsa te filmi \u201cVul\u00eb\u201d t\u00eb shp\u00ebrfaqet ndjesia e turbullt, si\u00e7 \u00ebsht\u00eb edhe vet\u00eb historia e k\u00ebtij filmi, n\u00eb aj\u00ebr.<\/p>\n

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[1]<\/a>\u00a0\u00c7apaliku, Stefan,\u00a0Estetika Moderne<\/em>, Sht\u00ebpia Botuese \u201cOmbra GVG\u201d, Tiran\u00eb, 2004, f. 27.<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Prologu Regjisori Valmir Tertini ka sjell tema nga realiteti i Kosov\u00ebs p\u00ebrmes dy filmave t\u00eb realizuar n\u00ebn logon e regjis\u00eb s\u00eb tij, tema t\u00eb cilat jan\u00eb p\u00ebrjetuar, e ku p\u00ebrmes filmave t\u00eb tij, i ka jet\u00ebsuar k\u00ebto realitete. Filmat e regjisorit t\u00eb ri, Valmir Tertini, vijn\u00eb si nj\u00eb klithm\u00eb e madhe p\u00ebr realitetin e jetuar […]<\/p>","protected":false},"author":177,"featured_media":1481,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[748,664,747],"ppma_author":[206],"class_list":["post-1480","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-cinema","tag-kosovo","tag-valmir-tertini"],"authors":[{"term_id":206,"user_id":177,"is_guest":0,"slug":"rovena-vata","display_name":"Rovena Vata","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-5-10.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-5-10.jpg"},"user_url":"","last_name":"Vata","first_name":"Rovena","description":"Dr. Rovena Vata njihet si gazetare, koordinatore, pedagoge, publiciste, studiuese dhe albanologe. Dr. Rovena \u00ebsht\u00eb diplomuar n\u00eb Universitetin e Tiran\u00ebs, n\u00eb fakultetin Histori-Filologji p\u00ebr Gjuh\u00eb dhe Let\u00ebrsi Shqipe n\u00eb vitin 2008. M\u00eb pas ajo p\u00ebrfundon po n\u00eb k\u00ebt\u00eb fakultet studimet e saj \u201cMaster i Shkencave\u201d n\u00eb specialitetin: \u201cLet\u00ebrsi t\u00eb P\u00ebrgjithshme dhe Let\u00ebrsi t\u00eb Krahasuar\u201d ku i p\u00ebrfundon ato me \u201cMedalje t\u00eb Art\u00eb\u201d, n\u00eb vitin 2010."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1480","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/177"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=1480"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1480\/revisions"}],"predecessor-version":[{"id":1482,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1480\/revisions\/1482"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/1481"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=1480"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=1480"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=1480"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=1480"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}