{"id":4099,"date":"2017-08-10T12:38:09","date_gmt":"2017-08-10T10:38:09","guid":{"rendered":"https:\/\/sbunker.org\/?p=4099"},"modified":"2024-11-22T12:43:39","modified_gmt":"2024-11-22T10:43:39","slug":"nje-film-i-madh-me-miza","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/nje-film-i-madh-me-miza\/","title":{"rendered":"Nj\u00eb film i madh me miza"},"content":{"rendered":"
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Nj\u00eb nga teoricienet m\u00eb t\u00eb fashm\u00ebm t\u00eb kultur\u00ebs, Susan Sontag, n\u00eb esen\u00eb e saj, kund\u00ebr intepretimit flet se si intepretimi \u00ebsht\u00eb shkat\u00ebrrim i artit. Ajo deri diku edhe mund t\u00eb ket\u00eb t\u00eb drejt\u00eb, por ka disa vepra arti q\u00eb edhe pasi i lexon apo pasi i sheh, nuk t\u00eb l\u00ebn\u00eb t\u00eb qet\u00eb, t\u00eb nxisin q\u00eb t\u00eb mendosh mbi to, t\u00eb nxisin t\u00eb i intepretosh. Nj\u00eb vep\u00ebr e till\u00eb q\u00eb t\u00eb nxit\u00eb ta interpretosh \u00ebsht\u00eb edhe filmi “Z\u00ebnia e mizave” (Hunting Flies) i Izer Aliut.<\/p>\n<\/div>\n

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Pas disa filmave t\u00eb shkurt\u00ebr, shum\u00eb t\u00eb suksessh\u00ebm, ku Izer Aliu tregoi se \u00ebsht\u00eb nj\u00eb rr\u00ebfimtar me talent, ai realizoi edhe filmin e tij t\u00eb par\u00eb t\u00eb metrazhit t\u00eb gjat\u00eb (feature film) t\u00eb titulluar \u201cZ\u00ebnia e mizave\u201d ku vet\u00ebm se e vulos\u00eb talentin e tij t\u00eb jasht\u00ebzakonsh\u00ebm si krijues filmi.<\/p>\n

Filmi i tij \u00ebsht\u00eb i vendosur n\u00eb nj\u00eb ambient rural (diku n\u00eb Maqedoni) dhe q\u00eb n\u00eb fillim d\u00ebgjojm\u00eb zukam\u00ebn e mizave e cila do t\u00eb na p\u00ebcjell\u00eb deri n\u00eb fund t\u00eb filmit, zukam\u00eb kjo q\u00eb sh\u00ebnd\u00ebrrohet n\u00eb lajtmotiv. Fshatrat q\u00eb p\u00ebrmenden n\u00eb film kan\u00eb toponime t\u00eb \u00e7uditshme; nj\u00ebri quhet Toka, e tjetri Ora q\u00eb do t\u00eb thot\u00eb se ngjarja ndodh\u00eb diku n\u00eb planetin ton\u00eb, dometh\u00ebn\u00eb mund t\u00eb ndodh\u00eb kudo dhe n\u00eb nj\u00eb koh\u00eb q\u00eb mund t\u00eb jet\u00eb secila koh\u00eb pasi q\u00eb personazhet or\u00ebn e konsiderojn\u00eb ve\u00e7 si rekuizit\u00eb apo stoli, por koh\u00ebn nuk e masin, nuk e vler\u00ebsojn\u00eb. Dy fshatrat kan\u00eb nj\u00eb shkoll\u00eb t\u00eb p\u00ebrbashk\u00ebt, ku p\u00ebrmes nx\u00ebn\u00ebsve t\u00eb fshatit Tok\u00eb bartet rr\u00ebfimi n\u00eb fshatin Or\u00eb duke u ngushtuar n\u00eb ambientet e shkoll\u00ebs ku edhe mandej do t\u00eb zhvillohet krejt ky tregim q\u00eb shtjellohet brenda nj\u00eb dit\u00eb. Duke p\u00ebrjashtuar epilogun q\u00eb ndodh\u00eb n\u00eb nj\u00eb dit\u00eb tjet\u00ebr.<\/p>\n

Q\u00eb n\u00eb fillim regjisori\/skenaristi Aliu na tregon se mes dy fshatrave ka armiq\u00ebsi, q\u00eb si duket m\u00eb von\u00eb ka nisur p\u00ebr shkaqe t\u00eb dallimeve politike q\u00eb kan\u00eb ato, e k\u00ebt\u00eb e kuptojm\u00eb edhe m\u00eb mir\u00eb pasi na shfaqet edhe m\u00ebsuesi i shqet\u00ebsuar, Ganiu (Burhan Amidi), i cili pasi ka marr\u00eb vesh se Qeveria e re ka em\u00ebruar drejtor t\u00eb ri n\u00eb shkoll\u00eb, ai do ta humb\u00eb vendin e pun\u00ebs dhe do t\u00eb z\u00ebvend\u00ebsohet nga ndonj\u00eb m\u00ebsues i partis\u00eb s\u00eb drejtorit. Tipike ballkanike kjo, kur partia n\u00eb pushtet i lin\u00e7on ata q\u00eb kan\u00eb votuar kund\u00ebr saj, apo nuk kan\u00eb votuar fare, si\u00e7 \u00ebsht\u00eb rasti i m\u00ebsuesit Gani, i cili nga frika s\u00eb do t\u00eb humbase pun\u00ebn mundohet t\u00eb gjej\u00eb nj\u00eb zgjidhje, q\u00eb ta ruaj\u00eb vendin\u00a0 e pun\u00ebs, duke u munduar q\u00eb t\u00eb q\u00ebndroj\u00eb i paansh\u00ebm. Por k\u00ebtu nuk pi uj\u00eb paan\u00ebsia. K\u00ebtu n\u00ebse nuk je me ne, je kund\u00ebr nesh.<\/p>\n

Drama e m\u00ebsuesit shpesh shkakton t\u00eb qeshura, por n\u00eb esenc\u00eb \u00ebsht\u00eb tragjike. M\u00ebnyra se si ai sillet n\u00eb raport me drejtorin dhe me \u201ckolegun\u201d q\u00eb do t\u2019ia z\u00eb vendin e pun\u00ebs e q\u00eb i rri tan koh\u00ebs aty p\u00ebrreth si shpat\u00eb e Demokleut, e b\u00ebn m\u00ebsuesin Gani q\u00eb t\u00eb duket komik dhe tragjik n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb. Dhe ky tragjikomiz\u00ebm vjen gradualisht duke u zhvilluar, duke u rritur q\u00eb krejt n\u00eb fund m\u00ebsuesi t\u00eb shnd\u00ebrrohet n\u00eb nj\u00eb personazh tragjik. Nj\u00eb tragjiz\u00ebm biblik pasi q\u00eb fati i tij mund t\u00eb krahasohet me at\u00eb t\u00eb Jezusit, q\u00eb mundohet t\u00eb b\u00ebj\u00eb mir\u00eb, t\u00eb sh\u00ebroj\u00eb njer\u00ebzimin por gozhdohet n\u00eb kryq si bandit. Edhe m\u00ebsuesin Gani e \u201cgozhdojn\u00eb\u201d nx\u00ebn\u00ebsit me shqelma e grushta deri sa e p\u00ebrgjakin. Ciceroni ka th\u00ebn\u00eb: \u201cq\u00ebllimi i edukimit \u00ebsht\u00eb q\u00eb qytetar\u00ebt t\u00eb \u00e7lirohen nga tirania e s\u00eb tashmes\u201d, por fshatar\u00ebt e Tok\u00ebs dhe Or\u00ebs nuk duan q\u00eb t\u00eb \u00e7lirohen nga zingjir\u00ebt e injoranc\u00ebs t\u00eb cil\u00ebt ata i adhurojn\u00eb dhe sakrifica e nj\u00eb njeriu idealist si ajo e m\u00ebsuesit Gani, \u00ebsht\u00eb sakrific\u00eb e kot\u00eb.<\/p>\n

Rr\u00ebfimi zhvillohet ngadal\u00eb por pa u b\u00ebr\u00eb monoton, pasi q\u00eb \u00e7do sken\u00eb \u00ebsht\u00eb e mb\u00ebshtjellur me humor t\u00eb krijuar pa pik\u00eb sforcimi. Madje lirisht mund t\u00eb thuhet se m\u00ebnyra se si Aliu, si skenarist, i zhvillon personazhet e tij, \u00ebsht\u00eb nj\u00eb shembull i shk\u00eblqyer dhe natyrisht q\u00eb mandej nuk e ka t\u00eb v\u00ebshtir\u00eb q\u00eb si regjisor t\u2019i udh\u00ebheq\u00eb ata drejt krijimit final.<\/p>\n

Tem\u00eb e vog\u00ebl<\/strong><\/p>\n

Shumica e regjisor\u00ebve evropian\u00eb, por edhe aziatik jan\u00eb t\u00eb fokusuar n\u00eb trajtimin e \u201ctemave t\u00eb vogla\u201d, sepse shumica e tyre e din\u00eb se koha e metarr\u00ebfimeve ka kaluar. Izer Aliu, edhe pse jeton e krijon n\u00eb Norvegji, m\u00eb shum\u00eb duket se \u00ebsht\u00eb ndikuar nga regjisor\u00ebt aziatik, sidomos atyre iranian\u00eb, afgan\u00eb, izraelit\u00eb, etj. Aliu q\u00eb n\u00eb titull na\u00a0 e b\u00ebn me dije se do t\u00eb merret me nj\u00eb tem\u00eb t\u00eb vog\u00ebl, me miza, por me mjeshtrin\u00eb e tij prej rr\u00ebfimtari ai arrin t\u00eb dep\u00ebrtoj\u00eb aq thell\u00eb n\u00eb tem\u00eb sa q\u00eb n\u00eb fund t\u00eb filmit e kuptojm\u00eb se mizat e tij (lexo idet\u00eb) ishin shum\u00eb t\u00eb m\u00ebdha. Rr\u00ebfimi i tij i vendosur n\u00eb nj\u00eb hap\u00ebsir\u00eb t\u00eb ngusht\u00eb, kryesisht n\u00eb nj\u00eb shkoll\u00eb, flet p\u00ebr nj\u00eb bot\u00eb t\u00eb gjer\u00eb. Flet p\u00ebr nj\u00eb univers njer\u00ebzish, marr\u00ebzia e t\u00eb cil\u00ebve nuk ka skaj. Ai p\u00ebrmes nj\u00eb rr\u00ebfimi q\u00eb n\u00eb dukje \u00ebsht\u00eb krejt realist, n\u00eb m\u00ebnyr\u00eb se si e p\u00ebrdor\u00eb detajin, mizansken\u00ebn, efektet e z\u00ebrit,\u2026 thot\u00eb shum\u00eb.<\/p>\n

Film minimalist<\/strong><\/p>\n

P\u00ebrve\u00e7 qasjes s\u00eb thell\u00eb artistike, filmi \u201cZ\u00ebnia e mizave\u201d paraqet nj\u00eb model t\u00eb t\u00eb b\u00ebrit film. Izer Aliu me nj\u00eb skenar, nj kamer\u00eb, nj\u00eb mikrofon, dhe disa aktor\u00eb, shumica amator\u00eb, b\u00ebn nj\u00eb film t\u00eb shk\u00eblqyer. Ai, ndoshta nga pamund\u00ebsia financiare, nuk ka p\u00ebrdorur n\u00eb filmin e tij paisje teknike q\u00eb do t\u00eb mund\u00ebsonin l\u00ebvizje t\u00eb shumta t\u00eb kamer\u00ebs, por kuadrot e tij jan\u00eb kryesisht statik, t\u00eb gjat\u00eb nga disa minuta. Por kjo nuk e pengon at\u00eb q\u00eb t\u00eb rr\u00ebfej\u00eb bukur sepse ai ka b\u00ebr\u00eb pun\u00ebn me skenar shum\u00eb mir\u00eb, mandej edhe me aktor\u00ebt e tij dhe kamer\u00ebn kudo q\u00eb e vendos\u00eb, ajo rri mir\u00eb. Aliu nuk luan shum\u00eb me kamer\u00eb, ai i b\u00ebn aktor\u00ebt q\u00eb t\u00eb luajn\u00eb para kamer\u00ebs dhe kjo \u00ebsht\u00eb mjeshtria e tij regjisoriale. Madje ai arrin shum\u00eb bukur ta fsheh vet\u00ebn e t\u00eb mos duket si regjisor, sa q\u00eb \u00ebsht\u00eb e \u00e7uditshme si ia ka dalur, sidomos kur kihet parasysh se ekipi i aktor\u00ebve \u00ebsht\u00eb i p\u00ebrb\u00ebr\u00eb nga aktor\u00eb pa asnj\u00eb p\u00ebrvoj\u00eb n\u00eb film, p\u00ebrjashto Burhan Amidin i cili \u00ebsht\u00eb aktor profesionist dhe i cili b\u00ebn nj\u00eb intepretim t\u00eb shk\u00eblqyer n\u00eb k\u00ebt\u00eb film. Aktor\u00ebt tjer\u00eb n\u00eb k\u00ebt\u00eb film jan\u00eb shumica f\u00ebmij\u00eb, burra dhe vet\u00ebm nj\u00eb grua, q\u00eb n\u00eb k\u00ebt\u00eb film v\u00ebrtetojn\u00eb th\u00ebnien se: \u201caktrimi \u00ebsht\u00eb reagim\u201d. Ata reagojn\u00eb n\u00eb situatat q\u00eb me mjeshtri ua ka krijuar regjisori. Ata vet\u00ebm p\u00ebrmbushin detyrat, por k\u00ebto detyra i b\u00ebjn\u00eb aq mir\u00eb sa q\u00eb krijojn\u00eb nj\u00eb loj\u00eb kolektive (ansamb\u00ebl) t\u00eb shk\u00eblqyer, dhe secili prej tyre \u00ebsht\u00eb i tipizuar shum\u00eb mir\u00eb.<\/p>\n

\u201cN\u00eb t\u00eb v\u00ebrtet\u00eb un\u00eb mendoj se ka ndonj\u00eb arsye t\u00eb gabuar p\u00ebr t\u00eb dashur nj\u00eb statuj\u00eb apo nj\u00eb piktur\u00eb\u2026 Ka arsye t\u00eb gabuara p\u00ebr t\u00eb mos e dashur nj\u00eb vep\u00ebr arti.\u201d shprehet E.H.Gombrich n\u00eb librin e tij \u201cHistoria e artit\u201d. Dhe v\u00ebrtet\u00eb ai q\u00eb nuk e do filmin \u201cZ\u00ebnia e mizave\u201d duhet t\u00eb ket\u00eb ndonj\u00eb ose m\u00eb shum\u00eb arsye t\u00eb gabuara, sepse ky film i realizuar nga nj\u00eb regjisor i ri por q\u00eb ka mjeshtrin\u00eb e nj\u00eb veterani, e q\u00eb dhuron knaq\u00ebsi estetike, t\u00eb b\u00ebn p\u00ebr vete, t\u00eb b\u00ebn ta duash.<\/p>\n<\/div>\n

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Nj\u00eb nga teoricienet m\u00eb t\u00eb fashm\u00ebm t\u00eb kultur\u00ebs, Susan Sontag, n\u00eb esen\u00eb e saj, kund\u00ebr intepretimit flet se si intepretimi \u00ebsht\u00eb shkat\u00ebrrim i artit. Ajo deri diku edhe mund t\u00eb ket\u00eb t\u00eb drejt\u00eb, por ka disa vepra arti q\u00eb edhe pasi i lexon apo pasi i sheh, nuk t\u00eb l\u00ebn\u00eb t\u00eb qet\u00eb, t\u00eb nxisin q\u00eb […]<\/p>","protected":false},"author":35,"featured_media":10656,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1961,1322],"ppma_author":[45],"class_list":["post-4099","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-filmi-zenia-e-mizave","tag-kritike"],"authors":[{"term_id":45,"user_id":35,"is_guest":0,"slug":"ben-apolloni","display_name":"Ben Apolloni","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-2-1.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-2-1.jpg"},"user_url":"","last_name":"Apolloni","first_name":"Ben","description":"Ben Apolloni ka mbaruar studimet p\u00ebr regji teatri dhe master p\u00ebr regji filmi n\u00eb Universitetin e\r\nPrishtin\u00ebs. P\u00ebrve\u00e7 si regjisor ai shkruan kritik\u00eb filmi, teatri dhe n\u00eb p\u00ebrgjith\u00ebsi p\u00ebr fenomene\r\nkulturore t\u00eb cilat i ka publikuar n\u00ebp\u00ebr revista e gazeta t\u00eb ndryshme n\u00eb Kosov\u00eb, Shqip\u00ebri,\r\nMaqedoni dhe Zvic\u00ebr.\r\n\r\nKa qen\u00eb p\u00ebr dy vite an\u00ebtar i bordit t\u00eb Qendr\u00ebs Kinematografike t\u00eb Kosov\u00ebs (mars 2011 \u2013 shtator 2013) dhe nga janari deri n\u00eb qershor 2016, z\u00ebvend\u00ebs kryeredaktor e m\u00eb pas kryeredaktor i revist\u00ebs \u201cPlisi\u201d n\u00eb Zurich t\u00eb Zvicr\u00ebs, deri n\u00eb shtator 2016.\r\n\r\nKa realizuar disa filma t\u00eb shkurt\u00ebr si regjisor e skenarist, t\u00eb shp\u00ebrblyer me \u00e7mime t\u00eb ndryshme komb\u00ebtare e nd\u00ebrkomb\u00ebtare si dhe disa shfaqje n\u00ebp\u00ebr teatro t\u00eb ndryshme n\u00eb Kosov\u00eb e Maqedoni."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4099","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\/35"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=4099"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4099\/revisions"}],"predecessor-version":[{"id":10657,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4099\/revisions\/10657"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/10656"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4099"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4099"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4099"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4099"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}