{"id":2193,"date":"2022-02-02T14:29:28","date_gmt":"2022-02-02T13:29:28","guid":{"rendered":"https:\/\/sbunker.org\/?p=2193"},"modified":"2023-12-13T14:31:08","modified_gmt":"2023-12-13T13:31:08","slug":"vera-andrron-detin-kosova-andrron-ndryshimin","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/vera-andrron-detin-kosova-andrron-ndryshimin\/","title":{"rendered":"Vera andrron detin: Kosova andrron ndryshimin"},"content":{"rendered":"<p>Me 4 filma debutues nga kat\u00ebr gra regjisore, me personazhe kryesore gra me perspektiva,\u00a0<em>background<\/em>-e dhe mosha t\u00eb ndryshe, filmi i gruas dominoi n\u00eb kinematografin\u00eb e Kosov\u00ebs n\u00eb vitin 2021.<\/p>\n<p>Blerta Basholli, Norika Sefa, Kaltrina Krasniqi dhe Luana Bajrami, t\u00eb gjitha na treguan histori interesante, intriguese dhe mbres\u00ebl\u00ebn\u00ebse, e kjo n\u00eb vetvete \u00ebsht\u00eb di\u00e7ka shembullore p\u00ebr ne t\u00eb gjith\u00eb, sepse ky \u00ebsht\u00eb nj\u00eb shembull i diversitetit dhe p\u00ebrfshirjes n\u00eb kultur\u00ebn vizive, p\u00ebr \u00e7\u2019gj\u00ebra b\u00ebhet fjal\u00eb shpeshher\u00eb n\u00eb koh\u00ebn ton\u00eb. Dhe \u00ebsht\u00eb nj\u00eb hap pozitiv q\u00eb premton nj\u00eb kultur\u00eb filmi po aq t\u00eb larmishme dhe gjith\u00ebp\u00ebrfshir\u00ebse n\u00eb t\u00eb ardhmen.<\/p>\n<p>N\u00ebse ka di\u00e7ka p\u00ebr t\u00eb lavd\u00ebruar n\u00eb filmin debutues t\u00eb Kaltrina Krasniqit, \u00ebsht\u00eb p\u00ebrdorimi inteligjent i muzik\u00ebs leitmotiv \u2013 nj\u00eb muzik\u00eb karakteristike e cila p\u00ebrdoret n\u00eb koordinim t\u00eb p\u00ebrsosur me l\u00ebvizjet e kamer\u00ebs s\u00eb Sevdije Kastratit, p\u00ebr t\u00eb krijuar nj\u00eb motiv kryesor q\u00eb e rrethon filmin nga fillimi deri n\u00eb fund, n\u00eb momente ky\u00e7. N\u00eb p\u00ebrgjith\u00ebsi, \u00ebsht\u00eb elementi m\u00eb dinamik i tregimit, por fatkeq\u00ebsisht \u00ebsht\u00eb p\u00ebrdorur edhe n\u00eb momentet kur nuk duhej \u2013 nuk p\u00ebrputhet me imazhet e fundit t\u00eb filmit ku Vera \u00ebsht\u00eb n\u00eb det me familjen e saj dhe atmosfera e ritmi i imazheve \u00ebsht\u00eb ndryshe nga atmosfera e ritmi i muzik\u00ebs. Nj\u00eb melodi pak m\u00eb e leht\u00eb dhe e ngroht\u00eb mbase do t\u00eb kishte nj\u00eb efekt m\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb.<\/p>\n<p>N\u00eb thelbin e vet, \u201cVera andrron detin\u201d \u00ebsht\u00eb nj\u00eb film simpatik, q\u00eb zhvillon mjaft mir\u00eb dhe me nj\u00eb rit\u00ebm t\u00eb rregullt dhe t\u00eb sakt\u00eb historin\u00eb e Ver\u00ebs n\u00ebn regjin\u00eb t\u00eb matur, t\u00eb p\u00ebrmbajtur dhe t\u00eb kujdesshme t\u00eb Kaltrina Krasniqit, e cila na zhyt ngadal\u00eb n\u00ebp\u00ebr sokak\u00ebt e shumt\u00eb t\u00eb historis\u00eb q\u00eb po na tregon. Filmi trajton dy konflikte paralelisht: konfliktin midis s\u00eb mir\u00ebs dhe s\u00eb lig\u00ebs, q\u00eb p\u00ebrb\u00ebn komplotin kryesor t\u00eb filmit, dhe konfliktin midis s\u00eb vjetr\u00ebs dhe s\u00eb res\u00eb, midis brezit t\u00eb Ver\u00ebs dhe brezit t\u00eb s\u00eb bij\u00ebs Sara, si subplot. N\u00eb intrig\u00ebn kryesore, Astrit Kabashi gjall\u00ebron realisht dhe me p\u00ebrpik\u00ebri matematike nj\u00eb horr, nj\u00eb njeri me vese dhe t\u00eb paskrupull, nj\u00eb njeri t\u00eb mjer\u00eb \u2013 gjithsesi, nuk prisja di\u00e7ka m\u00eb pak nga nj\u00eb aktor i nivelit t\u00eb tij. Kurse Vera \u2013 portretizuar me nj\u00eb performanc\u00eb t\u00eb detajuar n\u00eb \u00e7do gjest t\u00eb vog\u00ebl nga Teuta Jegeni Ajdini, nj\u00eb grua q\u00eb n\u00eb dukje shkon kund\u00ebr shoq\u00ebris\u00eb patriarkale dhe traditave tradicionale, por aty ku duhet t\u00eb reagoj\u00eb, ajo n\u00eb t\u00eb v\u00ebrtet\u00eb q\u00ebndron n\u00eb mosveprim t\u00eb plot\u00eb n\u00eb k\u00ebt\u00eb aspekt.<\/p>\n<p><strong>Spoiler Alert<\/strong>: edhe pse ajo n\u00eb fund v\u00ebrtet zbulon korrupsionin e personave n\u00eb pozicione t\u00eb larta n\u00eb shoq\u00ebri (p\u00ebrfshir\u00eb edhe t\u00eb t\u00eb shoqit Fatmir Gashi), ky \u00ebsht\u00eb nj\u00eb veprim n\u00eb suaz\u00ebn e p\u00ebrgjegj\u00ebsis\u00eb t\u00eb individit t\u00eb mbroj\u00eb t\u00eb drejt\u00ebn n\u00eb nj\u00eb shoq\u00ebri ku korrupsioni mbizot\u00ebron dhe jo nj\u00eb veprim q\u00eb mund t\u00eb shkaktoj\u00eb ndryshim n\u00eb traditat q\u00eb zhvler\u00ebsojn\u00eb pozicionin e gruas n\u00eb nj\u00eb shoq\u00ebri dhe t\u00eb cilat filmi thekson, p\u00ebr shembull, pozit\u00ebn e disfavorshme t\u00eb gruas n\u00eb \u00e7\u00ebshtje trash\u00ebgimie. V\u00ebrtet, Vera tregon se ka potencialin p\u00ebr t\u2019u zhvilluar n\u00eb nj\u00eb personazh me nxitje t\u00eb fuqishme dhe m\u00ebnyra se si ajo vendoset n\u00eb qend\u00ebr t\u00eb v\u00ebmendjes s\u00eb kuadrit tregon se \u00ebsht\u00eb elementi kryesor i filmit (por jan\u00eb edhe skenat ku personazhet kryesore, Vera dhe Sara, q\u00ebndrojn\u00eb n\u00eb an\u00ebn e kuadrit, gati p\u00ebr t\u00eb rr\u00ebshqitur jasht\u00eb tij, simbolik\u00eb e psikologjis\u00eb n\u00eb t\u00eb cil\u00ebn gjenden ato gjat\u00eb situatave q\u00eb po p\u00ebrjetojn\u00eb). Por, \u00ebsht\u00eb gjynah q\u00eb dialog\u00ebt nuk jan\u00eb zhvilluar aq sa t\u2019i lejojn\u00eb koh\u00ebn apo vendin p\u00ebr ta \u00e7liruar t\u00eb gjith\u00eb energjin\u00eb e saj dhe p\u00ebr t\u2019u zbuluar si nj\u00eb personazh v\u00ebrtet dominues. Jam e bindur se Teuta Jegeni Ajdini do t\u2019ia arrinte t\u00eb shpaloste at\u00eb energji pa v\u00ebshtir\u00ebsi.<\/p>\n<p>N\u00eb dy momentet m\u00eb t\u00eb p\u00ebrshtatshme q\u00eb Vera duhej t\u00eb vepronte si nj\u00eb personazh i till\u00eb dhe q\u00eb duhej t\u00eb dilte fituese n\u00eb t\u00eb dy konfliktet, ajo rri n\u00eb heshtje. Momenti i par\u00eb \u00ebsht\u00eb skena ku ajo \u00ebsht\u00eb n\u00eb nj\u00eb dhom\u00eb me burrat e katundit dhe i d\u00ebgjon me v\u00ebmendje e durim, n\u00eb heshtje, kur ata e n\u00ebnshtrojn\u00eb dhe g\u00ebnjejn\u00eb p\u00ebr \u00e7\u00ebshtjen lidhur me sht\u00ebpin\u00eb e saj n\u00eb fshat. Q\u00ebndrimi i saj \u00ebsht\u00eb simbolik, n\u00eb t\u00eb till\u00eb m\u00ebnyr\u00eb q\u00eb tregon vendin e kufizuar t\u00eb gruas n\u00eb nj\u00eb rend patriarkal, ku z\u00ebri\/opinioni i saj nuk b\u00ebn diferenc\u00eb ose nuk d\u00ebgjohet nga askush. Dhe momenti i dyt\u00eb \u00ebsht\u00eb skena kur e bija, Sara, e konfronton me pyetjen \u2018\u00e7far\u00eb shembulli m\u00eb ke dh\u00ebn\u00eb ti mu?\u2019 Vera p\u00ebrs\u00ebri d\u00ebgjon, nuk p\u00ebrgjigjet, thjesht reagon me nj\u00eb shuplak\u00eb dhe vazhdon ta shtroj\u00eb tryez\u00ebn p\u00ebr dark\u00eb.<\/p>\n<p>Mjerisht, monologu i Sar\u00ebs p\u00ebrngjan si nj\u00eb akuz\u00eb a turp\u00ebrim i identitetit t\u00eb gruas sht\u00ebpiake kur mund t\u00eb kishte qen\u00eb nj\u00eb shans brilant p\u00ebr Ver\u00ebn q\u00eb t\u00eb shpjegoj\u00eb p\u00ebrse ajo ka qen\u00eb nj\u00eb shembull i till\u00eb dhe k\u00ebshtu ta ngushtoj\u00eb hendekun nd\u00ebrmjet dy brezave. Edhe ai background i pakt\u00eb q\u00eb na zbulohet drejt fundit t\u00eb filmit kur n\u00ebn\u00eb e bij\u00eb diskutojn\u00eb brenda n\u00eb makin\u00eb dhe Vera na tregon pak nga e shkuara e saj, \u00ebsht\u00eb n\u00eb drejtim t\u00eb sakt\u00eb por jo mjaft. Por, si element p\u00ebr ta drejtuar filmin drejt rezolucionit \u00ebsht\u00eb nj\u00eb moment i bukur dhe intim ku muzika p\u00ebrdoret p\u00ebr ta krijuar at\u00eb rrjet\u00eb q\u00eb do t\u2019i lidh\u00eb t\u00eb dy personazhet \u2013 si\u00e7 ndodh n\u00eb shumic\u00ebn e filmave kosovar\u00eb koh\u00ebn e fundit, p\u00ebr shembull \u2018Zgjoi\u2019, \u2018N\u00eb K\u00ebrkim t\u00eb Vener\u00ebs\u2019, \u2018Zana\u2019, \u2018Shpia e Ag\u00ebs\u2019.<\/p>\n<p>N\u00ebse duam v\u00ebrtet ta quajm\u00eb Ver\u00ebn nj\u00eb personazh me tendenca kund\u00ebr asaj q\u00eb quhet \u2018masculine entitlement\u2019 dhe nj\u00eb personazh q\u00eb mund t\u00eb hedh\u00eb drit\u00eb mbi ato pjes\u00ebt e tradit\u00ebs q\u00eb detyruan grat\u00eb t\u00eb ecin n\u00eb nj\u00eb udh\u00eb t\u00eb p\u00ebrcaktuar, do t\u00eb ishte m\u00eb efektive n\u00ebse ajo do t\u2019i shfryt\u00ebzonte dy rastet e shk\u00eblqyera q\u00eb Doruntina Basha ka krijuar n\u00eb skenarin e saj, p\u00ebr t\u00eb qen\u00eb m\u00eb verbale. Mbase kjo \u00ebsht\u00eb thjesht nj\u00eb\u00a0<em>wishful thinking<\/em>\u00a0nga ana ime dhe m\u00ebnyra se si dialog\u00ebt n\u00eb k\u00ebto raste t\u00eb caktuara jan\u00eb p\u00ebrdorur \u00ebsht\u00eb p\u00ebr ta kaluar mesazhin e pozicionit t\u00eb kufizuar t\u00eb gruas dhe jo t\u00eb na jap\u00eb nj\u00eb shembull gruaje q\u00eb reagon n\u00eb m\u00ebnyr\u00eb aktive p\u00ebr t\u00eb ndikuar nj\u00eb ndryshim n\u00eb traditat t\u00eb disfavorshme p\u00ebr grat\u00eb. Pra, filmi \u00ebsht\u00eb mjaft inteligjent p\u00ebr t\u00eb ngacmuar intelektin, ndjenjat dhe instinktet e shikuesit, por krijon nj\u00eb boshll\u00ebk q\u00eb n\u00eb sip\u00ebrfaqe mund t\u00eb mbulohet vet\u00ebm nga imazhet e shfaqjes eksperimentale ku Sara performon \u2013 aty ku Kaltrina Krasniqi tregohet nj\u00eb\u00a0<em>bona fide<\/em>\u00a0regjisore guximtare dhe vizioni i saj p\u00ebr ta trazuar\u00a0<em>status quo<\/em>-n\u00eb trensformohet n\u00eb form\u00eb konkrete dhe abstrakte n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb.<\/p>\n<p>Tr\u00e8s Bien!<\/p>","protected":false},"excerpt":{"rendered":"<p>Me 4 filma debutues nga kat\u00ebr gra regjisore, me personazhe kryesore gra me perspektiva,\u00a0background-e dhe mosha t\u00eb ndryshe, filmi i gruas dominoi n\u00eb kinematografin\u00eb e Kosov\u00ebs n\u00eb vitin 2021. Blerta Basholli, Norika Sefa, Kaltrina Krasniqi dhe Luana Bajrami, t\u00eb gjitha na treguan histori interesante, intriguese dhe mbres\u00ebl\u00ebn\u00ebse, e kjo n\u00eb vetvete \u00ebsht\u00eb di\u00e7ka shembullore p\u00ebr [&hellip;]<\/p>","protected":false},"author":414,"featured_media":2194,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,721,664],"ppma_author":[773],"class_list":["post-2193","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-feminism","tag-kosovo"],"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 &amp; 2021)."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2193","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\/414"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2193"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2193\/revisions"}],"predecessor-version":[{"id":2195,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2193\/revisions\/2195"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2194"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2193"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2193"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2193"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2193"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}