{"id":3286,"date":"2016-09-16T14:56:28","date_gmt":"2016-09-16T12:56:28","guid":{"rendered":"https:\/\/sbunker.org\/?p=3286"},"modified":"2025-01-09T15:12:20","modified_gmt":"2025-01-09T13:12:20","slug":"bota-e-iris-elezit-dhe-bota-pertej-saj","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/analize\/bota-e-iris-elezit-dhe-bota-pertej-saj\/","title":{"rendered":"Bota e Iris Elezit dhe bota p\u00ebrtej saj"},"content":{"rendered":"
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Kjo pjes\u00eb \u00ebsht\u00eb e shk\u00ebputur nga artikulli m\u00eb i gjat\u00eb me t\u00eb nj\u00ebjtin titull, t\u00eb cilin mund ta gjeni t\u00eb plot\u00eb n\u00eb fund t\u00eb shkrimit.<\/p>\n<\/div>\n

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Filmi BOTA, me skenar dhe regji t\u00eb Iris Elezit dhe Thomas Logorecit, dhe realizuar me fonde relativisht t\u00eb m\u00ebdha nga Bashkimi Europian, Kosova, Italia dhe Shqip\u00ebria, ka fituar nj\u00eb s\u00ebr\u00eb \u00e7mimesh n\u00eb Europ\u00eb \u2013 regjisorja ka num\u00ebruar 17 prej tyre \u2013 dhe \u00ebsht\u00eb shfaqur disa her\u00eb n\u00eb Kosov\u00eb e Shqip\u00ebri. Filmi \u00ebsht\u00eb shfaqur edhe n\u00eb Shtetet e Bashkuara, si Nju Jork e San Fran\u00e7isko. N\u00eb intervistat dhe materialet promocionale na thuhet se filmi merret me t\u00eb kaluar\u00ebn e af\u00ebrt t\u00eb Shqip\u00ebris\u00eb, pasojat e komunizmit, tranzicionin shqiptar, etj., ashtu si\u00e7 kjo e kaluar p\u00ebrjetohet nga tre personazhe q\u00eb p\u00ebrfaq\u00ebsojn\u00eb brezin e ri t\u00eb klas\u00ebs s\u00eb ish-t\u00eb persekutuarve. Ne argumentojm\u00eb q\u00eb filmi nuk merret me k\u00ebto \u00e7\u00ebshtje, por q\u00eb Elezi i ka p\u00ebrdorur k\u00ebto koncepte si \u201cbuzzwords\u201d p\u00ebr t\u00eb siguruar fonde prodhimi e p\u00ebr t\u2019i dh\u00ebn\u00eb pesh\u00eb filmit n\u00eb diskursin e saj. N\u00eb k\u00ebt\u00eb ese diskutojm\u00eb gjithashtu meritat artistike t\u00eb filmit dhe, p\u00ebrmes nj\u00eb analize tekstuale, tregojm\u00eb se Elezi duket ta ket\u00eb bazuar skenarin e saj n\u00eb novel\u00ebn \u201cKlubi Karavasta\u201d t\u00eb Maks Velos (Toena, 2004). Pjesa tjet\u00ebr e asaj q\u00eb argumentojm\u00eb, me t\u00eb cil\u00ebn fillojm\u00eb dhe e p\u00ebrfundojm\u00eb shkrimin, ka t\u00eb b\u00ebj\u00eb me munges\u00ebn e kultur\u00ebs s\u00eb kritik\u00ebs (intoleranc\u00ebs dhe keqkuptimit t\u00eb saj) nga elita kultur\u00eb-b\u00ebr\u00ebse shqiptare, duke marr\u00eb Elezin si shembull.<\/em><\/p>\n

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Literalisht, kjo \u00ebsht\u00eb sfida jon\u00eb kryesore, a do mundet ky film t\u00eb komunikoj\u00eb me publikun ton\u00eb.\u00a0[1]<\/a>\u00a0<\/sup><\/em>– Iris Elezi, regjisore e filmit\u00a0Bota<\/em>.<\/p>\n

I<\/strong><\/p>\n

Bota<\/strong><\/p>\n

N\u00eb Shqip\u00ebri termat \u201carti ambasador\u201d dhe \u201carti diplomat\u201d jan\u00eb t\u00eb st\u00ebrp\u00ebrdorur, si nga politikan\u00ebt si nga artist\u00ebt, kur flitet p\u00ebr kinematografin\u00eb dhe rolin e saj shoq\u00ebror. N\u00eb rastin e filmit\u00a0Bota<\/em>\u00a0(2014), me regji t\u00eb Iris Elezit dhe Thomas Logorecit, vlera e tij \u00ebsht\u00eb diskutuar, sidomos nga Elezi, jo vet\u00ebm n\u00eb saj\u00eb t\u00eb \u00e7mimeve t\u00eb shumta q\u00eb i jan\u00eb dh\u00ebn\u00eb n\u00eb festivale nd\u00ebrkomb\u00ebtare, pra ekspozimit q\u00eb i ka sjell\u00eb vet\u00eb Shqip\u00ebris\u00eb n\u00eb bot\u00eb, por edhe n\u00eb saje t\u00eb vler\u00ebs historike dhe shoq\u00ebrore q\u00eb ky film ka p\u00ebr \u201cpopullin\u201d shqiptar; filmi \u00ebsht\u00eb prezantuar si nj\u00eb tentativ\u00eb p\u00ebr t\u2019i p\u00ebrballur qytetar\u00ebt shqiptar\u00eb me t\u00eb shkuar\u00ebn e pap\u00ebrtypur komuniste, sidomos vuajtjen dhe shtypjen q\u00eb shkaktoi ajo e shkuar.<\/p>\n

Filmi\u00a0Bota<\/em>, q\u00eb premier\u00ebn e pati m\u00eb 2014 n\u00eb \u00c7eki, u soll edhe n\u00eb\u00a0Museum of the Moving Image<\/a>\u00a0(MoMi) n\u00eb Astoria, Nju Jork, m\u00eb 31 Maj 2015, n\u00eb kuad\u00ebr t\u00eb\u00a0Panorama Europe Film Festival<\/a>, pasi\u00a0Bota<\/em>\u00a0tashm\u00eb kishte kaluar disa cikle n\u00eb festivale t\u00eb ndryshme. Filmi u soll n\u00eb ekran nga\u00a0Albanian Institute New York<\/a>\u00a0[2]<\/sup><\/a>,\u00a0dhe u shfaq n\u00eb nj\u00eb sall\u00eb gati plot, me shum\u00eb spektator\u00eb edhe nga diaspora shqiptare. E pranishme p\u00ebr t\u00eb folur mbi filmin dhe diskutuar me spektator\u00ebt ishte edhe Iris Elezi.<\/p>\n

Bota<\/em>\u00a0sjell n\u00eb ekran eksperienc\u00ebn e disa ish-t\u00eb p\u00ebrndjekurve gjat\u00eb periudh\u00ebs komuniste t\u00eb cil\u00ebt, p\u00ebr arsye t\u00eb ndryshme, nuk kan\u00eb pasur mund\u00ebsi t\u00eb largohen nga zonat e ish-persekutimit apo rikthehen aty ku jetonin p\u00ebrpara. Ata i mban s\u00eb bashku e kaluara, por edhe nj\u00eb kafe e vog\u00ebl n\u00eb buz\u00eb t\u00eb detit me emrin \u201cBota.\u201d Juli (interpretuar nga Flonja Kodheli), nj\u00eb nga personazhet kryesore t\u00eb filmit, \u00ebsht\u00eb rritur me gjyshen e saj (interpretuar nga Tinka Kurti), mbasi e \u00ebma u ekzekutua \u201cp\u00ebr veprimtari armiq\u00ebsore\u201d gjat\u00eb komunizmit, gj\u00eb p\u00ebr t\u00eb cil\u00ebn Juli nuk ka dijeni. Ajo i kalon dit\u00ebt duke u p\u00ebrkujdesur p\u00ebr gjyshen, e cila duket se vuan nga nj\u00eb s\u00ebmundje pleq\u00ebrie q\u00eb prek kujtes\u00ebn, dhe duke punuar si kameriere n\u00eb kafen \u201cBota.\u201d Kush\u00ebriri i Julit dhe pronari i kafes, Beni (interpretuar nga Artur Gorishti), mundohet t\u00eb shfryt\u00ebzoj\u00eb t\u00eb gjitha mund\u00ebsit\u00eb, por edhe njer\u00ebzit, p\u00ebr t\u00eb p\u00ebrfituar sa m\u00eb shum\u00eb, duke epitomizuar shqiptarin oportunist dhe hileqar. E dashura e tij, Nora (interpretuar nga Fioralba Kryemadhi), t\u00eb cil\u00ebn kushtet e kan\u00eb b\u00ebr\u00eb t\u00eb jet\u00eb e varur krejt nga Beni, duket t\u00eb ket\u00eb nj\u00eb p\u00ebrqasje naive ndaj gj\u00ebrave q\u00eb ndodhin apo kan\u00eb ndodhur. Kafe \u201cBota\u201d \u00ebsht\u00eb pik\u00ebrisht nyja ku e kaluara dhe e tashmja, e brendshmja dhe e jashtmja, ndeshen n\u00eb jet\u00ebt e personazheve t\u00eb filmit, p\u00ebr t\u00eb sjell\u00eb nj\u00eb fund shpres\u00ebplot\u00eb, pavar\u00ebsisht vazhd\u00ebs s\u00eb tragjedive q\u00eb ndodhin.<\/p>\n

Filmi hapet me imazhin e nj\u00eb grupi pallatesh parafabrikat\u00eb, tarracat e t\u00eb cil\u00ebve jan\u00eb mbushur me antena satelitore, mes nj\u00eb fushe t\u00eb hapur dhe t\u00eb zbraz\u00ebt. L\u00ebvizjet e vetme n\u00eb k\u00ebto skena jan\u00eb t\u00eb nj\u00eb tufe dhensh dhe m\u00eb tej t\u00eb nj\u00eb furgoni q\u00eb reklamon \u201cfruta-perime\u201d me megafon, l\u00ebvizje q\u00eb parashtrojn\u00eb ritmin e ngadalt\u00eb dhe t\u00eb k\u00ebndsh\u00ebm t\u00eb filmit n\u00eb p\u00ebrgjith\u00ebsi. P\u00ebr shikuesin k\u00ebto skena jan\u00eb disi treguese mbi jet\u00ebn e protagonist\u00ebve: nd\u00ebrkoh\u00eb q\u00eb fusha e hapur n\u00ebnkupton izolim total \u2013 \u00a0gj\u00eb q\u00eb e konfirmojn\u00eb Juli dhe Nora m\u00eb von\u00eb, t\u00eb cilat nuk kan\u00eb qen\u00eb asnj\u00ebher\u00eb n\u00eb kryeqytet \u2013 \u00a0dend\u00ebsia e sateliteve tregon ekspozim ndaj nj\u00eb bote p\u00ebrtej. Kompozimi dhe harmonia estetike e sekuencave t\u00eb para, ku shikuesi m\u00eb tej prezantohet me luginat, k\u00ebnetat dhe rrug\u00ebt e ngushta, vijon p\u00ebrgjat\u00eb filmit. N\u00eb fakt, fotografia lakonike \u00ebsht\u00eb nj\u00ebra nga pjes\u00ebt e tij m\u00eb t\u00eb arritura; prezantimi estetik i\u00a0Bot\u00ebs<\/em>\u00a0rivalizon jo vet\u00ebm kinematografin\u00eb gjeorgjane, rumune apo sllovene, q\u00eb jan\u00eb shpesh pika krahasimi me kinematografin\u00eb shqiptare p\u00ebr Elezin\u00a0[3]<\/sup><\/a>, por edhe filmat e n\u00ebn-zhanrit t\u00eb dram\u00ebs romantike prodhuar n\u00eb Spanj\u00eb, Itali apo Franc\u00eb gjat\u00eb dekadave t\u00eb fundit.\u00a0Bota<\/em>\u00a0gjithashtu \u00ebsht\u00eb nj\u00eb shembull i p\u00ebrdorimit t\u00eb mir\u00eb t\u00eb montazhit n\u00eb planin teknik \u2013 duke sjell\u00eb s\u00eb bashku elemente t\u00eb ndryshme pamore dhe tematike \u2013 q\u00eb e b\u00ebn k\u00ebt\u00eb film vizualisht t\u00eb \u201crrjedhsh\u00ebm\u201d dhe mjaft josh\u00ebs, nj\u00eb tjet\u00ebr element q\u00eb i jep orientimin komercial t\u00eb dramave dhe komedive romantike.<\/p>\n

Bota<\/em>\u00a0v\u00eb p\u00ebrball\u00eb nj\u00ebri-tjetrit personazhe me marr\u00ebdh\u00ebnie t\u00eb ndryshme ndaj s\u00eb kaluar\u00ebs. Noja, gjyshja e Julit, ia ka mbajtur q\u00ebllimisht t\u00eb fsheht\u00eb mbes\u00ebs s\u00eb saj ekzekutimin e s\u00eb \u00ebm\u00ebs, nj\u00eb err\u00ebsir\u00eb nga e cila Juli nuk ka arritur dot ose nuk ka dashur t\u00eb dal\u00eb. Injoranca ose padituria gati e q\u00ebllimshme e Julit mbi t\u00eb kaluar\u00ebn \u2013 ajo nuk duket t\u00eb ket\u00eb b\u00ebr\u00eb ndonj\u00eb tentativ\u00eb p\u00ebr t\u00eb k\u00ebrkuar ose m\u00ebsuar \u2013 paralelizohet me pamund\u00ebsin\u00eb e Nojes (e cila vuan nga amnezia) p\u00ebr ta kujtuar t\u00eb kaluar\u00ebn, nd\u00ebrkoh\u00eb q\u00eb ajo e p\u00ebrs\u00ebrit at\u00eb. N\u00eb nj\u00eb nga skenat e hershme ku Noja me Julin han\u00eb dark\u00eb, ajo i drejtohet mbes\u00ebs me emrin e s\u00eb bij\u00ebs, Alba. Kjo mund t\u00eb interpretohet si nj\u00eb metafor\u00eb e fuqishme mbi m\u00ebnyr\u00ebn se si gjenerata t\u00eb ndryshme shqiptar\u00ebsh kan\u00eb folur (ose kan\u00eb evituar t\u00eb flasin) mbi t\u00eb kaluar\u00ebn komuniste. E kaluara ndrydhet ose injorohet, duke ngelur gjithmon\u00eb e pap\u00ebrpunuar, e paartikuluar, dhe akoma m\u00eb pak e analizuar; nd\u00ebrkoh\u00eb q\u00eb ajo p\u00ebrs\u00ebritet n\u00eb praktika t\u00eb ndryshme kulturore dhe politike q\u00eb iu ngjajn\u00eb atyre t\u00eb sistemit t\u00eb m\u00ebparsh\u00ebm. E nj\u00ebjta ide p\u00ebrs\u00ebritet m\u00eb von\u00eb n\u00eb film, n\u00eb m\u00ebnyr\u00eb akoma m\u00eb t\u00eb drejtp\u00ebrdrejt\u00eb, kur Nora, Juli dhe Beni arg\u00ebtohen duke pir\u00eb hashash dhe kokteje n\u00eb tarrac\u00ebn e kafes. Nd\u00ebrkoh\u00eb nj\u00eb skaf, q\u00eb po k\u00ebrkon trupat e ish-t\u00eb p\u00ebrndjekurve t\u00eb vrar\u00eb dhe t\u00eb hedhur n\u00eb k\u00ebnet\u00eb gjat\u00eb komunizmit, kalon p\u00ebrball\u00eb \u201cBot\u00ebs\u201d dhe Julit i kujtohet befas e kaluara: \u201cMendon se si gj\u00ebrat kan\u00eb qen\u00eb m\u00eb par\u00eb?\u201d e pyet ajo Nor\u00ebn. \u201cJo,\u201d i p\u00ebrgjigjet Nora, \u201cprandaj edhe pi.\u201d Kjo sken\u00eb s\u00ebrish v\u00eb n\u00eb dukje raportin e pand\u00ebrgjegjsh\u00ebm dhe t\u00eb paangazhuar q\u00eb protagonistet kan\u00eb me t\u00eb kaluar\u00ebn.<\/p>\n

Nj\u00eb tjet\u00ebr koment i r\u00ebnd\u00ebsish\u00ebm shprehet n\u00ebp\u00ebrmjet personazhit t\u00eb Benit; gatishm\u00ebria e tij p\u00ebr t\u00eb k\u00ebnaqur italian\u00ebt q\u00eb po nd\u00ebrtojn\u00eb autostrad\u00ebn af\u00ebr \u201cBot\u00ebs\u201d e b\u00ebn t\u00eb p\u00ebrfaq\u00ebsoj\u00eb arketipin e shqiptarit oportunist, shfryt\u00ebzues, por edhe servil. Sapo Beni vihet n\u00eb dijeni t\u00eb nd\u00ebrtimit t\u00eb autostrad\u00ebs, ai sugjeron t\u00eb organizoj\u00eb nj\u00eb fest\u00eb n\u00eb m\u00ebnyr\u00eb q\u00eb t\u2019i bind\u00eb ata t\u00eb vendosin nj\u00eb shenj\u00eb p\u00ebr kafen \u201cBota,\u201d p\u00ebr t\u00eb rritur k\u00ebsisoj biznesin e tij. Beni flet italisht, edhe at\u00ebher\u00eb kur italiani i drejtohet n\u00eb shqip. Kur e diskuton iden\u00eb e fest\u00ebs me Julin, ai mendon t\u2019iu organizoj\u00eb nj\u00eb \u201cnat\u00eb t\u00eb v\u00ebrtet\u00eb italiane,\u201d duke iu sh\u00ebrbyer birra italiane. Nd\u00ebrkoh\u00eb q\u00eb Beni d\u00ebshiron t\u2019iu sh\u00ebrbej\u00eb at\u00eb q\u00eb italian\u00ebt supozohet se preferojn\u00eb, Juli e kund\u00ebrshton duke th\u00ebn\u00eb se \u00ebsht\u00eb m\u00eb mir\u00eb t\u2019iu sh\u00ebrbehet di\u00e7ka vendase: \u201cItalian\u00ebt e kan\u00eb Italin\u00eb e tyre, m\u00eb mir\u00eb t\u00eb marrim birra Kor\u00e7a dhe raki.\u201d Edhe pse Beni fillimisht bie dakord, madje duke i vler\u00ebsuar mendimin n\u00ebp\u00ebrmjet klishes\u00eb \u201c\u00c7\u2019do b\u00ebja un\u00eb pa ty!,\u201d n\u00eb vijim t\u00eb filmit p\u00ebrqasja e tij servile ndaj \u201cPer\u00ebndimit\u201d rishfaqet pik\u00ebrisht gjat\u00eb p\u00ebrgatitjeve p\u00ebr fest\u00ebn. \u201cSi shum\u00eb po lodhemi p\u00ebr t\u2019i b\u00ebr\u00eb p\u00ebrshtypje nj\u00eb italiani,\u201d thot\u00eb Juli. N\u00eb kund\u00ebrp\u00ebrgjigje, Beni thot\u00eb se \u201cky \u00ebsht\u00eb vet\u00ebm fillimi, do shikosh, gj\u00ebrat do ndryshojn\u00eb,\u201d \u00e7ka v\u00eb n\u00eb dukje edhe nj\u00eb her\u00eb synimet e tij oportuniste, t\u00eb cilat m\u00eb pas shprehen edhe nga Nora kur i kujton Julit bakshishet q\u00eb kan\u00eb p\u00ebr t\u00eb marr\u00eb.<\/p>\n

Momentet e lartp\u00ebrmendura v\u00ebn\u00eb n\u00eb dukje jo vet\u00ebm marr\u00ebdh\u00ebnien e nder\u00eb q\u00eb shqiptar\u00ebt kan\u00eb me komunizmin, por edhe tendencat shpesh servile p\u00ebrkundrejt Per\u00ebndimit. N\u00eb nivel sip\u00ebrfaq\u00ebsor, nxjerrja e tyre n\u00eb pah mund t\u00eb konsiderohet si nj\u00eb merit\u00eb e filmit. Por, par\u00eb m\u00eb thell\u00eb, k\u00ebto momente jan\u00eb edhe nd\u00ebr dob\u00ebsit\u00eb dhe problemet e tij. K\u00ebto jan\u00eb vet\u00ebm momente q\u00eb ngelin pezull dhe t\u00eb pazhvilluara. P\u00ebr rjedhoj\u00eb\u00a0Bota<\/em>\u00a0nuk arrin t\u00eb b\u00ebj\u00eb at\u00eb q\u00eb premton: t\u00eb p\u00ebrball\u00eb publikun me t\u00eb kaluar\u00ebn e hidhur komuniste dhe efektet e saj sot. P\u00ebrkundrazi, filmi ofron nj\u00eb imazh romantik dhe shpesh historikisht t\u00eb pasakt\u00eb t\u00eb s\u00eb kaluar\u00ebs komuniste dhe jet\u00ebs n\u00eb periferit\u00eb e Shqip\u00ebris\u00eb sot; nj\u00eb imazh q\u00eb na duket t\u00eb jet\u00eb i p\u00ebrtypsh\u00ebm vet\u00ebm p\u00ebr nj\u00eb spektator q\u00eb di fare pak, ose q\u00eb s\u2019di asgj\u00eb, p\u00ebr Shqip\u00ebrin\u00eb dhe historin\u00eb e saj. Ky konstatim i yni d\u00ebshmohet nga vet\u00eb shkrimet e kritik\u00ebve joshqiptar\u00eb mbi Bot\u00ebn, interpretimet e t\u00eb cil\u00ebve nuk duket t\u00eb ken\u00eb pasur nj\u00eb p\u00ebrqasje kritike mbi filmin p\u00ebrball\u00eb faktit historik. P\u00ebr shembull, n\u00eb nj\u00eb shkrim lavd\u00ebrues nga Diane Sippl, titulluar \u201cBota, A Balkan Phoenix,\u201d autorja e nis analiz\u00ebn me dy pyetje t\u00eb goditura t\u00eb cilat, sipas saj, p\u00ebrb\u00ebjn\u00eb thelbin e filmit:<\/p>\n

N\u00eb k\u00ebrkimet e saj p\u00ebr k\u00ebt\u00eb projekt, historit\u00eb e shumta q\u00eb ajo [Elezi] mblodhi p\u00ebrgjat\u00eb rajonit k\u00ebrkonin t\u00eb thuheshin, ashtu sikurse k\u00ebrkonte t\u00eb konsiderohej edhe e kaluara e Shqip\u00ebrise: \u00e7\u2019do t\u00eb thot\u00eb t\u00eb mbijetoje komunizmin gjat\u00eb regjimit t\u00eb Hoxh\u00ebs, dhe si u ndikuan individ\u00ebt nga traumat e asaj kohe? \u00c7far\u00eb kontradiktash kan\u00eb dal\u00eb n\u00eb sip\u00ebrfaq\u00eb n\u00eb sjelljet e atyre q\u00eb kan\u00eb mbetur, dhe \u00e7\u2019t\u00eb ardhme shohin shqiptar\u00ebt? [p\u00ebrkthimi yn\u00eb]\u00a0[4]<\/sup><\/a><\/em><\/p>\n

Edhe pse ky citim duket t\u00eb jet\u00eb marr\u00eb kall\u00ebp nga shprehje q\u00eb \u00a0Elezi i p\u00ebrdor shpesh (pjes\u00eb t\u00eb t\u00eb cilave gjenden tek\u00a0Sh\u00ebnimet finale p\u00ebr shtypin<\/em>)[5]<\/a><\/sup>\u00a0, vet\u00eb titulli i k\u00ebsaj interviste e krahason\u00a0Bot\u00ebn<\/em>\u00a0me nj\u00eb feniks \u2013 nj\u00eb metafor\u00eb rilindjeje nga hiri i s\u00eb kaluar\u00ebs, nj\u00eb ide t\u00eb cil\u00ebn e p\u00ebrmbajn\u00eb edhe pyetjet m\u00eb sip\u00ebr. Sado poetike metafora dhe ndon\u00ebse pyetjet e lartp\u00ebrmendura shtrohen si par\u00ebsore, Sippl nuk vijon t\u2019i tregoj\u00eb lexuesit se deri n\u00eb \u00e7\u2019pik\u00eb i trajton ato\u00a0Bota<\/em>, apo t\u00eb problematizoj\u00eb ndopak faktin se pyetjet shtrohen vet\u00ebm n\u00eb plan diskursiv nga regjisorja (ndoshta per t\u2019i shtuar pesh\u00ebn historike dhe shoq\u00ebrore filmit), ama duke ngelur gjithmon\u00eb t\u00eb pal\u00ebvruara. P\u00ebrkundrazi, shkrimi i Sippl merret kryesisht me tregimin e dram\u00ebs q\u00eb zhvillohet n\u00eb film si dhe aspektet kinematografike t\u00eb tij, ato q\u00eb kan\u00eb, sipas saj,\u00a0panache<\/em>\u00a0apo stil, si p\u00ebr shembull homazhin q\u00eb Elezi i b\u00ebn let\u00ebrsis\u00eb s\u00eb Kadares\u00eb apo pionier\u00ebve t\u00eb kinemas\u00eb shqiptare si Dhimit\u00ebr Anagnosti.<\/p>\n

Bot\u00ebs<\/em>\u00a0nuk i mungon\u00a0panache<\/em>, p\u00ebr t\u00eb p\u00ebrdorur fjal\u00ebn e zgjedhur nga Sippl, edhe pse Sippl nuk thellohet as n\u00eb aspektin artistik t\u00eb filmit. Gjithsesi, fotografia dhe montazhi s\u00eb bashku, sado t\u00ebrheq\u00ebs, e b\u00ebjn\u00eb filmin v\u00ebshtir\u00ebsisht t\u00eb besuesh\u00ebm p\u00ebr publikun shqiptar. Tipike p\u00ebr fotografin\u00eb e\u00a0Bot\u00ebs<\/em>\u00a0jan\u00eb pamjet e hapura dhe t\u00eb pastra, t\u00eb cilat krijojn\u00eb nj\u00eb efekt paq\u00ebsor tek shikuesi, \u00e7ka nuk i p\u00ebrshtatet nj\u00eb situate ku mbizot\u00ebrojn\u00eb varf\u00ebria, vuajtja, maskilizmi, shtypja dhe, mbi t\u00eb gjitha, pasojat e nj\u00eb t\u00eb kaluare traumatike. Edhe portretet mjaft t\u00ebrheq\u00ebse t\u00eb protagonist\u00ebve, t\u00eb cil\u00ebt shpesh kapen nga af\u00ebr, pra jasht\u00eb kontekstit t\u00eb ngarkuar ku ata pretendohet t\u00eb jetojn\u00eb, i shtojn\u00eb efektin p\u00ebrg\u00ebnjeshtrues fotografis\u00eb s\u00eb\u00a0Bot\u00ebs<\/em>, duke krijuar iden\u00eb se mund t\u00eb jesh duke par\u00eb nj\u00eb dram\u00eb mes personazhesh q\u00eb jetojn\u00eb n\u00eb Lubjan\u00eb apo Tiran\u00eb, ama q\u00eb vet\u00ebm nga Adriatiku nuk jan\u00eb.<\/p>\n

Nga ana tjet\u00ebr, montazhi, si nj\u00eb teknik\u00eb p\u00ebr manipulimin e hap\u00ebsir\u00ebs, i sh\u00ebrben, nd\u00ebr t\u00eb tjera, zhvillimit t\u00eb struktur\u00ebs narrative, duke synuar plot\u00ebsimin e nj\u00eb personazhi apo zhvillimin e nj\u00eb pik\u00ebpamjeje. Ai p\u00ebrdoret p\u00ebr t\u2019i dh\u00ebn\u00eb form\u00eb dhe kontekst historis\u00eb q\u00eb tregohet, p\u00ebr t\u00eb p\u00ebrcaktuar historin\u00eb q\u00eb regjisorja do t\u00eb tregoj\u00eb, etj. P\u00ebr m\u00eb tep\u00ebr, teknikat e manipulimit t\u00eb koh\u00ebs (kronologjis\u00eb) p\u00ebrmes kthimit mbrapa n\u00eb koh\u00eb (flashback<\/em>) apo projektimit n\u00eb t\u00eb ardhmen (flashforward<\/em>), duke na paraqitur kujtes\u00ebn, \u00ebndrrat, fantazit\u00eb apo fantazmat, marrin gjithashtu nj\u00eb rol t\u00eb r\u00ebnd\u00ebsish\u00ebm n\u00eb ofrimin e nj\u00eb konteksti historik m\u00eb t\u00eb thell\u00eb karshi s\u00eb tashmes t\u00eb personazheve. P\u00ebr shembull, kthimi mbrapa si\u00e7 \u00ebsht\u00eb p\u00ebrdorur n\u00eb rastin e Julit, kur sheh \u00ebndrr\u00ebn nga e kaluara, mund t\u00eb ishte p\u00ebrdorur m\u00eb shpesh p\u00ebr t\u2019i dh\u00ebn\u00eb shikuesit t\u00eb kuptoj\u00eb pesh\u00ebn q\u00eb ka e kaluara n\u00eb t\u00eb sotmen e personazheve dhe preokupimin e tyre rreth k\u00ebsaj t\u00eb kaluare. Nga ana tjet\u00ebr, projektimi n\u00eb t\u00eb ardhmen, i cili nuk \u00ebsht\u00eb aplikuar n\u00eb asnj\u00eb rast, mund t\u00eb qe p\u00ebrdorur p\u00ebr t\u00eb shprehur \u00ebndrrat dhe shpresat e personazheve. Por k\u00ebto dy aspekte teknike jan\u00eb p\u00ebrdorur n\u00eb nj\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb l\u00eb p\u00ebrshtypjen se filmi nuk adreson shikuesin shqiptar, por at\u00eb t\u00eb huaj, i cili supozohet i painteresuar p\u00ebr k\u00ebt\u00eb kontekst.<\/p>\n

Por p\u00ebr t\u00eb krijuar nj\u00eb realitet filmik bind\u00ebs p\u00ebr publikun q\u00eb e njeh m\u00eb imt\u00ebsisht realitetin historik, social dhe estetik t\u00eb cilin\u00a0Bota<\/em>\u00a0pretendon t\u00eb shfaq\u00eb, filmit do t\u2019i ishte duhur nj\u00eb montazh i atill\u00eb q\u00eb vendos personazhet si n\u00eb t\u00eb kaluar\u00ebn (p\u00ebrmes flashback-ut), ashtu edhe n\u00eb t\u00eb ardhmen (p\u00ebrmes flashforward-it). N\u00eb fakt, fundi i filmit, si\u00e7 e kishin parashikuar fillimisht regjisor\u00ebt (sipas intervist\u00ebs me Elsa Demon), \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb skena e parafundit kur Juli merr valixhen dhe niset p\u00ebr t\u00eb kapur mikrobuzin. Por Elezi dhe Logoreci m\u00eb pas vendos\u00ebn t\u00eb japin edhe kat\u00ebr minuta t\u00eb tjera ku Nora (apo fantazma e saj) tregohet duke k\u00ebrcyer, shoq\u00ebruar nga tingujt e Rudolf Stamboll\u00ebs. Si pasoj\u00eb, kjo zgjedhje montazhi nuk na lejon t\u00eb mendojm\u00eb p\u00ebr Julin dhe t\u00eb ardhmen e saj, duke na e b\u00ebr\u00eb madje t\u00eb pamundur reflektimin mbi historin\u00eb q\u00eb sapo ka mbaruar me largimin e saj nga fshati i ish-internimit. Nd\u00ebrkaq, regjisor\u00ebt k\u00ebrkuan di\u00e7ka q\u00eb iu dukej m\u00eb \u201corganike,\u201d m\u00eb organike madje edhe se sugjerimi tjet\u00ebr i tyre q\u00eb fundi t\u00eb ishte pa tinguj, pa z\u00eb, thjesht me zhurm\u00ebn e er\u00ebs. N\u00eb vend t\u00eb k\u00ebtij fundi regjisor\u00ebt, bashk\u00eb me montazhierin, zgjodh\u00ebn nj\u00eb variant shum\u00eb m\u00eb sip\u00ebrfaq\u00ebsor, duke na ofruar fantazm\u00ebn e Nor\u00ebs shoq\u00ebruar nga tinguj muzikor\u00eb q\u00eb ndjellin ndjenja k\u00ebnaq\u00ebsie, shprese dhe optimizmi. P\u00ebrmes k\u00ebsaj zgjedhjeje teknike, q\u00eb Elezi e quan \u00e7udit\u00ebrisht \u201csfiduese\u201d p\u00ebr shikuesin, ata zgjodh\u00ebn \u201cbot\u00ebn e re.\u201d[6]<\/a><\/p>\n

Edhe pse regjisor\u00ebt Elezi dhe Logoreci, thuajse n\u00eb \u00e7do intervist\u00eb q\u00eb kan\u00eb dh\u00ebn\u00eb, qoft\u00eb p\u00ebr shtypin apo mediat e huaja, qoft\u00eb p\u00ebr ato shqiptare, thon\u00eb se ballafaqimi me t\u00eb kaluar\u00ebn \u00ebsht\u00eb nj\u00eb domosdoshm\u00ebri p\u00ebr t\u00eb ecur p\u00ebrpara, filmi\u00a0Bota<\/em>\u00a0e trajton t\u00eb kaluar\u00ebn n\u00eb m\u00ebnyr\u00eb krejt aluzive dhe, m\u00eb tej, jep ide t\u00eb gabuara mbi t\u00eb sotmen. P\u00ebr shembull, e kaluara p\u00ebrmendet vet\u00ebm shkarazi dhe n\u00eb m\u00ebnyr\u00eb sip\u00ebrfaq\u00ebsore kur Mili i tregon biznesmenit italian se banor\u00ebt e Adriatikut jan\u00eb degdisur aty nga regjimi komunist, nd\u00ebrkoh\u00eb q\u00eb ky i fundit duket i painteresuar dhe nuk reagon; po ashtu edhe kur Nora tregon p\u00ebr ndodhin\u00eb e pabesueshme n\u00eb furgon p\u00ebr t\u00eb b\u00ebr\u00eb gallat\u00eb. Nga ana tjet\u00ebr, muzika e k\u00ebndshme dhe romantike, e influencuar nga stilet per\u00ebndimore xhaz dhe suing, q\u00eb p\u00ebrb\u00ebn kolon\u00ebn zanore t\u00eb filmit, \u00ebsht\u00eb muzik\u00eb q\u00eb s\u2019ka t\u00eb b\u00ebj\u00eb as me t\u00eb kaluar\u00ebn komuniste, as me t\u00eb sotmen. Veshjet per\u00ebndimore t\u00eb protagonist\u00ebve dhe personazhet ekstra me g\u00ebrsheta rasta p\u00ebrcjellin iden\u00eb se ata jan\u00eb jo nga Adriatiku apo Bedati, por nga baret trendi t\u00eb Tiran\u00ebs. Kinematografia e stilizuar, sado e k\u00ebndshme p\u00ebr syrin, fashit dhimbjen, vuajtjen dhe varf\u00ebrin\u00eb q\u00eb mbizot\u00ebron n\u00eb at\u00eb zon\u00eb gjeografike-politike. Filmi\u00a0Bota<\/em>\u00a0b\u00ebn at\u00eb q\u00eb Beni k\u00ebshillohet t\u00eb mos b\u00ebj\u00eb: i sh\u00ebrben spektatorit per\u00ebndimor \u201cbirr\u00eb italiane,\u201d duke i servirur at\u00eb q\u00eb mendohet se ai pret t\u00eb shoh\u00eb ose ka mund\u00ebsi t\u00eb kuptoj\u00eb n\u00eb rehatin\u00eb e bot\u00ebkuptimit t\u00eb tij.<\/p>\n

Pra \u00ebsht\u00eb e kuptueshme pse, n\u00eb nj\u00eb rencension t\u00ebr\u00ebsisht pozitiv t\u00eb botuar s\u00eb fundmi n\u00eb nj\u00eb num\u00ebr t\u00eb revist\u00ebs\u00a0KinoKultura<\/em>, autores Ewa Marzierska i duket se \u201cfilmi paraqet n\u00eb m\u00ebnyr\u00eb bind\u00ebse historin\u00eb e s\u00eb tashmes n\u00eb Shqip\u00ebri, nd\u00ebrkoh\u00eb q\u00eb tregon rr\u00ebfenj\u00ebn e zakont\u00eb t\u00eb nj\u00eb gruaje t\u00eb varf\u00ebr q\u00eb d\u00ebshiron nj\u00eb jet\u00eb m\u00eb t\u00eb mir\u00eb.\u201d[7]<\/a>\u00a0Kjo e pav\u00ebrtet\u00eb mund t\u2019i falet nj\u00eb autoreje polake q\u00eb v\u00ebrtet nuk e njeh situat\u00ebn shqiptare t\u00eb ish-kampeve e ish-t\u00eb p\u00ebrndjekurve sot, apo t\u00eb v\u00ebrtet\u00ebn e pasojave t\u00eb komunizmit, p\u00ebrve\u00e7se nga larg dhe n\u00eb vija t\u00eb p\u00ebrgjithshme. Elezi dhe Logoreci kan\u00eb premtuar l\u00ebvrimin e nj\u00eb t\u00eb kaluare t\u00eb hidhur, me pasoja t\u00eb shumta dhe t\u00eb pazgjidhura, por p\u00ebr spektator\u00eb q\u00eb e njohin realitetin shqiptar, dhe sidomos p\u00ebr spektator\u00eb q\u00eb e kan\u00eb p\u00ebrjetuar t\u00eb qenit t\u00eb p\u00ebrndjekur, ky film nuk paraqet bindsh\u00ebm as t\u00eb kaluar\u00ebn dhe as t\u00eb tashmen shqiptare. N\u00eb fakt, disonanca mes s\u00eb tashmes si\u00e7 paraqitet n\u00eb film dhe s\u00eb tashmes n\u00eb realitet ishte ngacmuese dhe k\u00ebmb\u00ebngul\u00ebse edhe gjat\u00eb shfaqjes s\u00eb filmit n\u00eb Nju Jork, gj\u00eb q\u00eb i provokoi autoret e k\u00ebtij shkrimi ta pyesnin Elezin pik\u00ebrisht mbi marr\u00ebdh\u00ebnien e filmit me realitetin aktual shqiptar, n\u00eb planet estetike, sociale dhe politike. P\u00ebr ta shtjelluar me tep\u00ebr k\u00ebt\u00eb kritik\u00eb, si fillim i rikthehemi vet\u00eb titullit t\u00eb filmit:\u00a0Bota<\/em>.<\/p>\n

*<\/p>\n

Titulli\u00a0Bota<\/em>\u00a0supozohet t\u00eb kap\u00eb di\u00e7ka universale, n\u00eb mos n\u00eb kuptim absolut, t\u00eb pakt\u00ebn p\u00ebr sa i takon p\u00ebrvoj\u00ebs s\u00eb shum\u00eb shqiptar\u00ebve. N\u00eb nj\u00eb intervist\u00eb me Blendi Salajn, Elezi thot\u00eb se jan\u00eb personazhet ata q\u00eb ia japin asaj titullin e filmit, sepse jeta e tyre, me sa duket, p\u00ebrfaq\u00ebson bot\u00ebn, ose t\u00eb pakt\u00ebn p\u00ebrpjekjet apo synimet e t\u00eb rinjve kudo n\u00eb bot\u00eb. Nuk \u00ebsht\u00eb e qart\u00eb se n\u00eb \u00e7\u2019m\u00ebnyr\u00eb personazhet mish\u00ebrojn\u00eb apo p\u00ebrfaq\u00ebsojn\u00eb \u201cnj\u00eb bot\u00eb,\u201d apo formojn\u00eb \u201cnj\u00eb kozmos individ\u00ebsh\u2026q\u00eb ne t\u00eb gjith\u00eb i njohim, n\u00eb mos kemi qen\u00eb vet\u00eb.\u201d[8]<\/a>\u00a0Vall\u00eb, a \u00ebsht\u00eb e v\u00ebrtet\u00eb se i njohim, apo se i njohim ashtu si\u00e7 na paraqiten, si gjenerata e t\u00eb rinjve post-persekutimit?\u00a0Bota<\/em>, pohon Elezi diku tjet\u00ebr, \u201ci qaset t\u00eb gjith\u00eb atyre q\u00eb do t\u00eb shohin nj\u00eb pasqyrim t\u00eb v\u00ebshtir\u00ebsive vetjake t\u00eb gjith\u00ebsecilit.\u201d[9]<\/a>\u00a0Ky gjykim mund t\u00eb mos i tingelloj\u00eb problematik intervistueses Ana Grgic e cila, edhe pse nuk duket t\u00eb ket\u00eb njohuri mbi ish-t\u00eb persekutuarit apo realitetin shqiptar p\u00ebrtej \u201cBllokut,\u201d \u00ebsht\u00eb duke nd\u00ebrtuar rezumen\u00eb e saj p\u00ebrkrah Elezit si an\u00ebtare e bordit t\u00eb\u00a0Albanian Cinema Projec<\/a>t. Por p\u00ebr shikuesin shqiptar nuk \u00ebsht\u00eb e qart\u00eb se \u00e7far\u00eb v\u00ebshtir\u00ebsish ka parasysh regjisorja, duke qen\u00eb se v\u00ebshtir\u00ebsit\u00eb e Benit, Julit apo Nor\u00ebs nuk pasqyrojn\u00eb ndonj\u00eb v\u00ebshtir\u00ebsi\u00a0tipike<\/em>\u00a0t\u00eb ish-t\u00eb persekutuarve, apo t\u00eb t\u00eb rinjve shqiptar\u00eb. Cilat jan\u00eb sakt\u00ebsisht v\u00ebshtir\u00ebsit\u00eb e Julit? Nuk e marrim vesh kurr\u00eb cilat jan\u00eb shqet\u00ebsimet e saj, ndoshta me p\u00ebrjashtim t\u00eb nj\u00eb d\u00ebshire t\u00eb vagullt, t\u00eb n\u00ebnshtruar, p\u00ebr t\u2019u lidhur me Milin. Po d\u00ebshira e Nor\u00ebs p\u00ebr t\u00eb pasur nj\u00eb f\u00ebmij\u00eb me Benin, a p\u00ebrfaq\u00ebson domosdoshm\u00ebrisht nj\u00eb problem tipik t\u00eb vajzave shqiptare n\u00eb p\u00ebrgjith\u00ebsi (dhe ish-t\u00eb persekutuarave n\u00eb ve\u00e7anti), p\u00ebr t\u00eb cilat shtatzania jasht\u00eb martese do t\u00eb ishte telashi i fundit q\u00eb do donin t\u00eb kishin? Edhe dredhit\u00eb e Benit nuk \u00ebsht\u00eb se jan\u00eb t\u00eb identifikueshme me v\u00ebshtir\u00ebsit\u00eb tipike t\u00eb ish-t\u00eb persekutuarve, sidomos duke pasur parasysh faktin se shumica e njer\u00ebzve me p\u00ebrkat\u00ebsi n\u00eb k\u00ebt\u00eb klas\u00eb kryesisht jan\u00eb larguar nga ish-kampet e internimit ose e kan\u00eb braktisur fare vendin q\u00eb n\u00eb fillim t\u00eb viteve \u201990.<\/p>\n

Mosp\u00ebrputhja midis asaj q\u00eb ndodh n\u00eb film dhe m\u00ebnyr\u00ebs se si \u00ebsht\u00eb folur p\u00ebr t\u00eb, qoft\u00eb n\u00eb prezantimin n\u00eb Nju Jork, qoft\u00eb n\u00eb intervistat e shumta televizive, \u00ebsht\u00eb problematike. P\u00ebr t\u00eb \u00ebsht\u00eb folur si nj\u00eb film q\u00eb p\u00ebrballet me t\u00eb shkuar\u00ebn e hidhur komuniste, ose q\u00eb t\u00eb pakt\u00ebn ka t\u00eb b\u00ebj\u00eb me t\u00eb. Nd\u00ebrkaq, shikuesja shqiptare e ka t\u00eb v\u00ebshtir\u00eb ta shoh\u00eb veten t\u00eb \u201cp\u00ebrfaq\u00ebsuar,\u201d dometh\u00ebn\u00eb ta shquaj\u00eb ngjarjen e filmit si ngjarje me t\u00eb cil\u00ebn mund t\u00eb identifikohet nj\u00eb e re (e ish-e persekutuar ose jo) ngecur n\u00eb nj\u00eb fshat t\u00eb humbur. N\u00eb vend t\u00eb k\u00ebsaj, filmi na paraqet nj\u00eb s\u00ebr\u00eb pasakt\u00ebsish historike, nj\u00eb keqparaqitje pik\u00ebrisht t\u00eb atij realiteti q\u00eb prentendohet se po rrok.<\/p>\n

N\u00eb nj\u00eb episod me gjasa tep\u00ebr t\u00eb pakta, na tregohet nj\u00eb histori nga e kaluara. Gjat\u00eb momenteve n\u00eb tarrac\u00ebn e “Bot\u00ebs”,<\/em>\u00a0ku po arg\u00ebtohen protagonist\u00ebt, Nora i tregon Benit dhe Julit p\u00ebr nj\u00eb burr\u00eb nga Vlora, q\u00eb e kishte takuar m\u00eb her\u00ebt n\u00eb furgon, historia e te cilit i kishte b\u00ebr\u00eb p\u00ebrshtypje. V\u00ebllai i personit n\u00eb fjal\u00eb kishte tentuar t\u00eb arratisej gjat\u00eb komunizmit dhe mbasi ishte kapur, ishte ekzekutuar, nd\u00ebrkoh\u00eb q\u00eb familja nuk kish marr\u00eb kurr\u00eb t\u00eb dh\u00ebna mbi fatin e tij. Mbas vdekjes dhe zhdukjes s\u00eb v\u00ebllait, ai vijoi t\u00eb kryente studimet n\u00eb Tiran\u00eb dhe pasi u b\u00eb mjek e profesor, kthehet n\u00eb Vlor\u00eb si m\u00ebsues. Gjat\u00eb nj\u00eb ekskursioni me student\u00ebt n\u00eb Muzeun e Vjet\u00ebr t\u00eb Shkencave, ai zbulon trupin e pajet\u00eb, t\u00eb balsamosur dhe p\u00ebrndryshe t\u00eb pandryshuar t\u00eb v\u00ebllait, p\u00ebrve\u00e7 nj\u00eb plumbi mbas shpine. Nj\u00eb situat\u00eb si kjo e paraqitur n\u00eb film do t\u00eb kishte pasur gjasa shum\u00eb t\u00eb pakta n\u00eb realitet. N\u00ebse dikush tentonte t\u00eb arratisej dhe m\u00eb tej ekzekutohej, ose qe arratisur me koh\u00eb, gjasat ishin se, edhe n\u00ebse familja nuk degdisej n\u00eb kamp internimi, pjes\u00ebtar\u00ebve t\u00eb mbetur zakonisht\u00a0 nuk u lejohej t\u00eb vazhdonin studimet universitare, sidomos n\u00eb deg\u00eb elitare si mjek\u00ebsia, jo m\u00eb t\u2019iu lejohej marrja e dy diplomave nj\u00ebra pas tjetr\u00ebs.<\/p>\n

Por problemi kryesor q\u00eb shohim n\u00eb film, p\u00ebr sa i p\u00ebrket vler\u00ebs s\u00eb tij historike ose nd\u00ebrgjegj\u00ebsuese, \u00ebsht\u00eb m\u00ebnyra se si trajtohen \u201cdosjet\u201d dhe d\u00ebmshp\u00ebrblimet ofruar ish-t\u00eb p\u00ebrndjekurve. Shqip\u00ebria \u00ebsht\u00eb nj\u00eb nga vendet e vetme n\u00eb Europ\u00ebn Qendrore dhe Lindore q\u00eb nuk i ka hapur t\u00eb ashtuquajturat \u201cdosje\u201d t\u00eb periudh\u00ebs totalitare, edhe pse m\u00eb 2015 u votua p\u00ebr hapjen e tyre. Hapja e dosjeve dhe lustracioni n\u00eb vende t\u00eb tjera \u00ebsht\u00eb trajtuar si nj\u00eb\u00a0detyr\u00eb<\/em>\u00a0p\u00ebr t\u00eb ndihmuar publikun t\u00eb nd\u00ebrgjegj\u00ebsohet mbi ato q\u00eb ndodh\u00ebn gjat\u00eb komunizmit, ose p\u00ebr t\u00eb v\u00ebn\u00eb para p\u00ebrgjegj\u00ebsis\u00eb elit\u00ebn komuniste, q\u00eb n\u00eb shum\u00eb raste tentoi dhe arriti t\u00eb q\u00ebndronte ende n\u00eb pushtet edhe mbas 1989-\u00ebs. N\u00eb Shqip\u00ebrin\u00eb e filmit\u00a0Bota<\/em>, dosjet jo vet\u00ebm rezultojn\u00eb t\u00eb hapura, por shteti shqiptar madje iu ka\u00a0ofruar<\/em>\u00a0ish-t\u00eb p\u00ebrndjekurve d\u00ebmshp\u00ebrblime financiare si shpagim p\u00ebr t\u00eb pushkatuarit, t\u00eb burgosurit dhe t\u00eb internuarit gjat\u00eb regjimit. \u00cbsht\u00eb e v\u00ebrtet\u00eb se n\u00eb faza t\u00eb caktuara t\u00eb periudh\u00ebs post-komuniste, dhe me mundime t\u00eb m\u00ebdha nga ana e ish-t\u00eb persekutuarve, nj\u00eb pjes\u00eb e tyre kan\u00eb marr\u00eb d\u00ebmshp\u00ebrblime t\u00eb pjesshme. Por duke i prezantuar dosjet si t\u00eb hapura dhe d\u00ebmshp\u00ebrblimet t\u00eb marra me kaq kollajll\u00ebk, pra duke mos u p\u00ebrfshir\u00eb dhe thelluar fare n\u00eb m\u00ebnyr\u00ebn se si ky proces \u00ebsht\u00eb zhvilluar dhe p\u00ebrjetuar n\u00eb realitet nga ish-t\u00eb persekutuarit,\u00a0Bota<\/em>\u00a0rrafshon pik\u00ebrisht at\u00eb q\u00eb duhet t\u00eb jemi duke diskutuar: g\u00ebnjeshtrat, manipulimet dhe vuajtjet q\u00eb vazhdojn\u00eb t\u00eb orientojn\u00eb ecurin\u00eb e ketij procesi.<\/p>\n

Nga fundi i filmit, na b\u00ebhet e qart\u00eb se Nojes i \u00ebsht\u00eb dh\u00ebn\u00eb nj\u00eb shum\u00eb lek\u00ebsh q\u00eb mbush plot nj\u00eb valixhe kur Beni i t\u00ebrheq nga banka p\u00ebr t\u00eb lar\u00eb borxhet e veta. Pavar\u00ebsisht se Beni nuk del dot p\u00ebrtej skuthll\u00ebkut dhe oportunizmit t\u00eb tij,\u00a0Bota<\/em>\u00a0na thot\u00eb se shteti shqiptar ka arritur kulmin e emancipimit moral dhe politik. P\u00ebr shembull, filmi jep p\u00ebrshtypjen sikur ekziston nj\u00eb k\u00ebrkim i vazhduesh\u00ebm, edhe n\u00eb or\u00ebt e muzgut, p\u00ebr eshtrat e t\u00eb pushkatuarve q\u00eb jan\u00eb depozituar n\u00eb k\u00ebnetat e zon\u00ebs. Kjo ide jepet n\u00eb skenat e fillimit ku Juli, duke par\u00eb jasht\u00eb dritares s\u00eb apartamentit, i tregon Nojes se ata vazhdojn\u00eb t\u00eb jen\u00eb \u201cprap\u00eb aty\u201d duke k\u00ebrkuar, nd\u00ebrsa Noja i p\u00ebrgjigjet me bindje se \u201cs\u2019kan\u00eb p\u00ebr t\u00eb gjetur gj\u00eb.\u201d M\u00eb tej, ideja p\u00ebrs\u00ebritet kur Beni dhe Nora gjenden mbi \u00e7atin\u00eb e \u201cBot\u00ebs\u201d ku, mbasi shohin pjes\u00ebtar\u00eb t\u00eb ekipit k\u00ebrkimor, Beni i p\u00ebrgjigjet v\u00ebzhgimit t\u00eb Nor\u00ebs \u201c[p]rap\u00eb aty ata,\u201d se ata \u201cs\u2019kan\u00eb p\u00ebr t\u00eb gjetur gj\u00eb.\u201d N\u00eb nj\u00eb sken\u00eb tjet\u00ebr, Juli sheh jasht\u00eb parafabrikatit ku jeton klientin q\u00eb frekuenton kafen, q\u00eb duket t\u00eb kryesoj\u00eb ekipin k\u00ebrkimor p\u00ebr eshtrat e t\u00eb pushkatuarve, duke ngush\u00eblluar nj\u00eb \u00e7ift pleqsh t\u00eb veshur me t\u00eb zeza, t\u00eb cil\u00ebt shikuesi mund t\u00eb supozoj\u00eb t\u00eb ken\u00eb humbur dik\u00eb gjat\u00eb regjimit dhe q\u00eb m\u00eb n\u00eb fund po m\u00ebsojn\u00eb t\u00eb v\u00ebrtet\u00ebn. M\u00eb von\u00eb, kur Juli k\u00ebrkon t\u00eb njoftoj\u00eb Benin se Noja ka vdekur, polici n\u00eb sken\u00eb jo vet\u00ebm i jep t\u00eb p\u00ebrdor\u00eb telefonin e tij, por m\u00eb tej edhe ia dhuron, duke shprehur nj\u00eb p\u00ebrkujdesje q\u00eb as nuk mund t\u00eb imagjinohet t\u00eb ekzistoj\u00eb nga policia p\u00ebrkundrejt publikut shqiptar. Nd\u00ebrsa n\u00eb fund t\u00eb filmit, kur Julit m\u00eb n\u00eb fund i thuhet se \u00e7\u2019i ka ndodhur s\u00eb \u00ebm\u00ebs, udh\u00ebtimi n\u00eb Tiran\u00eb p\u00ebr t\u00eb lexuar dosjet dhe marr\u00eb eshtrat i \u00ebsht\u00eb paguar nga shteti. Kjo p\u00ebrkujdesje nga ana e shtetit shqiptar mund t\u00eb mos i b\u00ebj\u00eb p\u00ebrshtypje shikuesit t\u00eb huaj por ngjan krejt absurde p\u00ebr shikuesin shqiptar, duke zbehur k\u00ebshtu edhe besueshm\u00ebrin\u00eb e narrativ\u00ebs s\u00eb p\u00ebrgjithshme t\u00eb filmit.<\/p>\n

K\u00ebto mosp\u00ebrputhje nuk paraqesin ndonj\u00eb problem p\u00ebr regjisoren Elezi, edhe pse n\u00eb nj\u00eb intervist\u00eb me\u00a0Z\u00ebrin e Amerik\u00ebs<\/em>\u00a0ajo shpreh d\u00ebshir\u00ebn p\u00ebr t\u2019u marr\u00eb me \u201ctranzicionin tej\u00ebsisht t\u00eb gjat\u00eb t\u00eb popullit tim.\u201d[10]<\/a>\u00a0N\u00eb po t\u00eb nj\u00ebjt\u00ebn intervist\u00eb, ajo shprehet se procesi k\u00ebrkimor dhe hulumtues gati kat\u00ebr vje\u00e7ar, por i paspecifikuar,[11]<\/a>\u00a0q\u00eb ka sjell\u00eb\u00a0Bot\u00ebn<\/em>\u00a0n\u00eb ekran, e provokoi \u201ct\u00eb vendos\u00eb gishtin n\u00eb plag\u00eb,\u201d dhe t\u00eb merret me \u201cdisa nga an\u00ebt e err\u00ebta.\u201d[12<\/a>]\u00a0N\u00eb realitet filmi jo vet\u00ebm q\u00eb nuk v\u00eb gishtin n\u00eb plag\u00eb, por ose i trajton plag\u00ebt si g\u00ebrvishtje, ose i mbulon duke v\u00ebn\u00eb nj\u00eb fasho mbi to. V\u00ebnia e gishtit n\u00eb plag\u00eb do kish k\u00ebrkuar v\u00ebnien n\u00eb dukje t\u00eb munges\u00ebs s\u00eb transparenc\u00ebs q\u00eb rezulton nga moshapja e dosjeve. V\u00ebnia e gishtit n\u00eb plag\u00eb do t\u00eb thoshte identifikimin e p\u00ebrdorimit q\u00eb u \u00ebsht\u00eb b\u00ebr\u00eb dosjeve si gur shahu n\u00eb loj\u00ebn p\u00ebr pushtet mes partive politike, sidomos gjat\u00eb sezoneve elektorale, dhe jo paraqitjen n\u00eb film t\u00eb nj\u00eb shteti shqiptar post-lustracion. T\u00eb gjitha k\u00ebto t\u00eb detyrojn\u00eb t\u00eb v\u00ebsh n\u00eb pik\u00ebpyetje se \u00e7far\u00eb k\u00ebrkimesh kan\u00eb b\u00ebr\u00eb sakt\u00ebsisht Elezi dhe Logoreci mbi subjektin q\u00eb trajtojn\u00eb, kur n\u00eb filmin e tyre japin nj\u00eb ide kaq t\u00eb gabuar mbi realitetin e t\u00eb qenit ish-i persekutuar n\u00eb Shqip\u00ebri. Ndaj s\u2019na ngelet gj\u00eb ve\u00e7 t\u00eb mendojm\u00eb se frytet e pjes\u00ebmarrjes n\u00eb Workshop-e si Binger Filmlab, Berlinare Talents, e t\u00eb tjera, q\u00eb Elezi i p\u00ebrmend shpesh, kan\u00eb qen\u00eb t\u00eb kufizuar tek aspekti teknik. Nd\u00ebrsa \u00e7mimet e shumta q\u00eb filmi ka marr\u00eb n\u00eb rajon, me t\u00eb cilat Elezi p\u00ebrpiqet t\u00eb legjitimoj\u00eb vler\u00ebn e filmit, sugjerojn\u00eb jo domosdoshm\u00ebrisht vler\u00ebn e tij artistike e kritike sesa gatishm\u00ebrin\u00eb p\u00ebr t\u00eb ofruar pik\u00ebrisht at\u00eb q\u00eb Per\u00ebndimi e ka m\u00eb t\u00eb leht\u00eb p\u00ebr t\u00eb vler\u00ebsuar: nj\u00eb Shqip\u00ebri n\u00eb zhvillim, me nj\u00eb estetik\u00eb t\u00eb njohur e t\u00eb k\u00ebndshme, q\u00eb po e kalon m\u00eb s\u00eb miri traum\u00ebn e saj kolektive. Europ\u00eb, thot\u00eb\u00a0Bota<\/em>\u00a0e Elezit, harroi paragjykimet q\u00eb ke p\u00ebr Shqip\u00ebrin\u00eb, sepse ajo \u00ebsht\u00eb fiks si ti.<\/p>\n

 <\/p>\n

Shkarko dokumentin<\/a><\/p>\n

__________<\/p>\n

Foto: Posteri i filmit<\/p>\n

<\/a>[1]\u00a0Intervist\u00eb p\u00ebr shtypin, ABC News, 16\/6\/14 (https:\/\/www.youtube.com\/watch?v=o0oY7DimMKo)<\/p>\n

<\/a>[2]\u00a0Albanian Institute New York, themeluar nga Dino Kor\u00e7a n\u00eb vitin 2014, \u00ebsht\u00eb nj\u00eb institucion, n\u00eb dukje, i artit modern shqiptar dhe jo-fitim-prur\u00ebs, por q\u00eb pretendon edhe sip\u00ebrmarrje t\u00eb ardhshme nga fusha e investimeve dhe e biznesit, dhe deri tek ajo e kuzhin\u00ebs.\u00a0P\u00ebr m\u00eb tep\u00ebr shih websitin: http:\/\/albanianinstitute.org\/<\/p>\n

<\/a>[3]\u00a0Intervist\u00eb me Enkel Demin, \u201cShih Progamin,\u201d TVSH, 18\/4\/2015\u00a0(https:\/\/www.youtube.com\/watch?v=8XMIxRGJAfE&index=8&list=PLngn1MXwygP5jWoUVVX73x2_IWRUJYwDI).<\/p>\n

<\/a>[4]\u00a0\u201cIn her research for this project, the many stories she collected throughout the region begged to be told just as they called for contemplation of Albania\u2019s past: what did it mean to survive communism as it evolved under the Hoxha regime, and how did the traumas of the times mark individuals in diverse ways?\u00a0\u00a0What contradictions have surfaced in the behaviors of those who remain, and where do Albanians today see themselves headed?\u201d \u201cBota: A Balkan Phoenix,\u201d Diane Sippl, Kinocaviar, 5\/9\/15\u00a0(http:\/\/www.kinocaviar.com\/bota.php).<\/p>\n

<\/a>[5]\u00a0Final Press Notes for \u201cBota,\u201d a film by Iris Elezi and Thomas Logoreci, presented by Erafilm & Partner Media Investment, in Association with I\u2019s Continuum & Flex Film, f. 7, pargrafi 3. (http:\/\/textlab.io\/viewer_next\/web\/viewer.html?file=http%3A%2F%2Fvs1.textlab.io%2Fstore%2Fdata%2F000475861.pdf%3Fkey%3D6d2f0839c7ecb6e0169b43728546b319%26r%3D1).<\/p>\n

<\/a>[6]\u00a0Intervist\u00eb me Elsa Demon, Takimet e Kultur\u00ebs, ABC News Albania, min. 20, 17\/11\/14 (https:\/\/www.youtube.com\/watch?v=OHi0rwgLCHE).<\/p>\n

<\/a>[7]\u00a0Mazierska, Ewa, \u201cIris Elezi and Thomas Logoreci: Bota (2014),\u201d KinoKultura, Special Issue 16: Albanian Cinema, mars 2016 (http:\/\/www.kinokultura.com\/specials\/16\/R_bota.shtml).<\/p>\n

<\/a>[8] Intervist\u00eb me Blendi Salajn, Ora News, 6\/3\/15 (https:\/\/www.youtube.com\/watch?v=Om-ZkDu0KsU).<\/p>\n

<\/a>[9]\u00a0\u201cInterview with Iris Elezi and Thomas Logoreci,\u201d Ana Grgic, East European Film Bulletin, 19\/2\/2015. \u201cI strongly feel that Bota, while opening a window into little-known Albania, also appeals to all people who will see a reflection of their own struggles. Hence the title of the film which means \u2018world\u2019 in Albanian.\u201d (https:\/\/eefb.org\/archive\/february-2015\/interview-with-iris-elezi-and-thomas-logoreci\/)<\/p>\n

<\/a>[10]\u00a0\u201cRegjisorja Elezi: Suksesi i \u2018Bot\u00ebs\u2019 \u00ebsht\u00eb tredimensionaliteti i personazheve,\u201d Z\u00ebri i Amerik\u00ebs, 5\/5\/15 (http:\/\/www.zeriamerikes.com\/content\/article\/2750169.html).<\/p>\n

<\/a>[11]\u00a0N\u00eb nj\u00eb intervist\u00eb me Valeria Dedajn p\u00ebr Shekullin me 14\/11\/14, ku intervistuesja pyet Elezin se \u00e7far\u00eb k\u00ebrkimesh ka b\u00ebr\u00eb p\u00ebr filmin, regjisorja e anashkalon thelbin e pyetjes duke th\u00ebn\u00eb vet\u00ebm se k\u00ebrkimet zgjat\u00ebn tre deri n\u00eb kat\u00ebr vjet. (http:\/\/www.shekulli.com.al\/p.php?id=60288).<\/p>\n

<\/a>[12]\u00a0\u201cRegjisorja Elezi: Suksesi i \u201cBot\u00ebs\u201d \u00ebsht\u00eb tredimensionaliteti i personazheve,\u201d Z\u00ebri i Amerik\u00ebs, 5\/5\/15 (http:\/\/www.zeriamerikes.com\/content\/article\/2750169.html).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Kjo pjes\u00eb \u00ebsht\u00eb e shk\u00ebputur nga artikulli m\u00eb i gjat\u00eb me t\u00eb nj\u00ebjtin titull, t\u00eb cilin mund ta gjeni t\u00eb plot\u00eb n\u00eb fund t\u00eb shkrimit.   Filmi BOTA, me skenar dhe regji t\u00eb Iris Elezit dhe Thomas Logorecit, dhe realizuar me fonde relativisht t\u00eb m\u00ebdha nga Bashkimi Europian, Kosova, Italia dhe Shqip\u00ebria, ka fituar nj\u00eb […]<\/p>","protected":false},"author":589,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[1757],"ppma_author":[2253,2254],"class_list":["post-3286","post","type-post","status-publish","format-standard","hentry","category-analize","tag-filmi-bota"],"authors":[{"term_id":2253,"user_id":589,"is_guest":0,"slug":"xhuli-agolli","display_name":"Xhuli Agolli","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/9d61ea249089d28503faa0dce37c7b06f8e3bb96e20d27e52b0b3cbf7dd9bf6f?s=96&d=mm&r=g","user_url":"","last_name":"Agolli","first_name":"Xhuli","description":""},{"term_id":2254,"user_id":591,"is_guest":0,"slug":"sofia-kalo","display_name":"Sofia Kalo","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/ecd0a4863fc3904bbd5238ef452de4623a0d148373f7ef924b3bfae9c3495423?s=96&d=mm&r=g","user_url":"","last_name":"Kalo","first_name":"Sofia","description":""}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3286","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\/589"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=3286"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3286\/revisions"}],"predecessor-version":[{"id":11841,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/3286\/revisions\/11841"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=3286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=3286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=3286"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=3286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}