{"id":4203,"date":"2018-04-26T12:21:40","date_gmt":"2018-04-26T10:21:40","guid":{"rendered":"https:\/\/sbunker.org\/?p=4203"},"modified":"2024-11-22T12:23:39","modified_gmt":"2024-11-22T10:23:39","slug":"pharmakon-nje-tregim-homazh-mbi-terrorin-monstruoz-te-vetmise","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/pharmakon-nje-tregim-homazh-mbi-terrorin-monstruoz-te-vetmise\/","title":{"rendered":"Pharmakon: nj\u00eb tregim homazh mbi terrorin monstruoz t\u00eb vetmis\u00eb"},"content":{"rendered":"
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Filmi debutues nga Joni Shanaj \u00ebsht\u00eb nj\u00eb film i dhimbsh\u00ebm p\u00ebr ta shikuar pik\u00ebrisht sepse \u00ebsht\u00eb shum\u00eb interesant dhe kuptimplot\u00eb n\u00eb disa nivele \u2013 \u00ebsht\u00eb nga ata filma, sekuenca e hapjes s\u00eb t\u00eb cil\u00ebve ka kuptim vet\u00ebm pasi filmi ka mbaruar.\u00a0Pharmakon<\/em>\u00a0\u00ebsht\u00eb nj\u00eb shembull i p\u00ebrsosur i nj\u00eb ushtrimi n\u00eb stil, nj\u00eb p\u00ebrpjekje e sukseshme p\u00ebr t\u00eb portretizuar shqet\u00ebsime tematike krejt thelb\u00ebsore n\u00eb nj\u00eb m\u00ebnyr\u00eb shum\u00eb t\u00eb stilizuar e cila nuk k\u00ebrkon domosdoshm\u00ebrisht njohuri t\u00eb artit t\u00eb filmit n\u00eb thell\u00ebsi p\u00ebr t\u2019u vler\u00ebsuar. N\u00ebse konceptet sunduese t\u00eb korrupsionit, vetmis\u00eb, munges\u00ebs s\u00eb lidhjes njer\u00ebzore dhe komunikimit, fragmentit shpirt\u00ebror dhe konflikteve midis brezave q\u00ebndrojn\u00eb n\u00eb thelb t\u00eb k\u00ebsaj drame, at\u00ebher\u00eb m\u00ebnyra e filmimit e cila n\u00eb pika t\u00eb caktuara \u00ebsht\u00eb n\u00eb prag t\u00eb abstrahimit ilustron k\u00ebto gjendje t\u00eb qenies n\u00eb m\u00ebnyre efektive p\u00ebrmes p\u00ebrdorimit t\u00eb disa mjeteve specifike t\u00eb komunikimit.<\/p>\n

P\u00ebrmbajtja e filmit<\/strong>: Branko \u00ebsht\u00eb kthyer nga Amerika dhe punon tek farmacia e t\u00eb atit, doktor Sokratit, i cili punon n\u00eb nj\u00eb spital ku \u00ebsht\u00eb lidhur me nj\u00eb infermjere t\u00eb re, Sara, dhe n\u00ebnkuptohet se i k\u00ebrkon asaj favore seksuale si shp\u00ebrblim p\u00ebr ndihm\u00ebn e tij p\u00ebr t\u00eb \u00ebm\u00ebn e saj t\u00eb shtruar n\u00eb spital. Branko krijon nj\u00eb lidhje me Sar\u00ebn, pa ditur p\u00ebr marr\u00ebdh\u00ebniet e saj me t\u00eb atin e tij, dhe i gjith\u00eb tregimi rrotullohet rreth zhvillimit t\u00eb marr\u00ebdh\u00ebnieve midis tre personazheve kryesore, ose m\u00eb mir\u00eb rreth pamund\u00ebsis\u00eb s\u00eb tyre p\u00ebr t\u00eb zvilluar nj\u00eb marr\u00ebdh\u00ebnie t\u00eb sh\u00ebndetshme. Filmi tregon shum\u00eb, n\u00eb kaq pak fjal\u00eb, sepse \u00ebsht\u00eb nj\u00eb studim n\u00eb \u2018anthropologjin\u00eb internale\u2019 (n\u00ebse m\u00eb lejohet shprehja) p\u00ebrmes imazheve, nj\u00eb studim ku dialogu \u00ebsht\u00eb minimal sepse imazhi b\u00ebhet mjeti dominues i komunikimit \u2013 duket sikur Pharmakon \u00ebsht\u00eb nj\u00eb fest\u00eb e kinemas\u00eb si retorik\u00eb pamore, megjithat\u00eb \u00ebsht\u00eb nj\u00eb fest\u00eb e ngjashme me nj\u00eb ceremoni funebre ku d\u00ebshp\u00ebrimi i heshtur dhe melankolia mbizot\u00ebrojn\u00eb.<\/p>\n

Nga pik\u00ebpamja stilistike, krijimtaria estetike fillon dhe mbaron n\u00eb plot\u00ebsim t\u00eb nevojave ekspresive t\u00eb regjisorit, nd\u00ebrkoh\u00eb edhe skenaristit t\u00eb filmit. Nga planet dhe skenat e sekuenc\u00ebs t\u00eb par\u00eb kuptohet se ky tregim do jet\u00eb kryesisht n\u00eb heshtje ose p\u00ebr shkak se nuk ka shum\u00eb p\u00ebr t\u00eb th\u00ebn\u00eb ose p\u00ebr shkak se \u00e7far\u00ebdo q\u00eb ka nuk mund t\u00eb vihet leht\u00eb n\u00eb fjal\u00eb \u2013 n\u00eb k\u00ebto momentet e para spektator\u00ebt nuk mund t\u00eb njohin ende p\u00ebrgjigjen. N\u00eb shumic\u00ebn e rasteve kamera nuk i ndjek karakter\u00ebt, p\u00ebrkundrazi jan\u00eb karakter\u00ebt q\u00eb qarkullojn\u00eb brenda dhe jasht\u00eb kuadr\u00ebs, dhe kur ata zhduken kamera fiksohet tek boshll\u00ebku q\u00eb ata len\u00eb pas. Ajo nuk k\u00ebrkon t\u00eb gjej\u00eb imazhin, ajo thjesht q\u00ebndron p\u00ebr t\u00eb kapur imazhin n\u00eb momentin e zhvillimit s\u00eb tij.<\/p>\n

N\u00eb t\u00eb nj\u00ebjt\u00ebn m\u00ebnyr\u00eb, personazhet shpesh jan\u00eb pozicionuar t\u00eb vetmuar n\u00eb kuad\u00ebr q\u00eb kap nj\u00eb boshll\u00ebk t\u00eb madh rreth tyre, sikurse filmi t\u00eb komunikoj\u00eb nj\u00eb ndjenj\u00eb t\u00eb vetmis\u00eb p\u00ebrmes hap\u00ebsir\u00ebs. N\u00eb k\u00ebto momente krijohet dhe komunikohet tek spektator\u00ebt ndjenja e d\u00ebshp\u00ebrimit p\u00ebr t\u00eb shp\u00ebtuar nga vetmia, p\u00ebr t\u00eb shp\u00ebtuar nga nj\u00eb vend frike dhe mjerimi t\u00eb cil\u00ebn spektator\u00ebt e p\u00ebrjetojn\u00eb bashk\u00eb me karakteret.<\/p>\n

Dhe n\u00eb raste t\u00eb tjera personazhet jan\u00eb t\u00eb pozicionuar brenda n\u00eb nj\u00eb kuad\u00ebr, megjithat\u00eb, ata jan\u00eb ende t\u00eb izoluar nga nj\u00ebri-tjetri, ndonj\u00ebher\u00eb edhe kund\u00ebr nj\u00ebri tjetrit, pik\u00ebrisht p\u00ebr t\u00eb komunikuar konfliktin e brendsh\u00ebm. Sidoqoft\u00eb, ndjenja mbizot\u00ebruese n\u00eb t\u00eb gjitha rastet \u00ebsht\u00eb ajo e fragmentimit dhe vetmis\u00eb s\u00eb dhimbshme, e cila kulminon dhe shp\u00ebrthen n\u00eb momentin e monologut t\u00eb Sokratit. S\u00eb pari e shohim n\u00eb nj\u00eb plan pak si t\u00eb larg\u00ebt, ai i ulur n\u00eb karigen e tij, dhe m\u00eb pas e shohim n\u00eb plan t\u00eb par\u00eb, kur ai rr\u00ebfen plag\u00ebt e tij m\u00eb t\u00eb thella duke na shikuar drejt n\u00eb sy p\u00ebrmes kamer\u00ebs. Bisha \u00ebsht\u00eb liruar! Ky gjest ka dy efekte: thyen iluzionin e tregimit duke i b\u00ebr\u00eb spektator\u00ebt t\u00eb vet\u00ebdijsh\u00ebm se kjo \u00ebsht\u00eb nj\u00eb histori e nd\u00ebrmjet\u00ebsuar, por gjithashtu i sjell ata brenda n\u00eb tregimin, i b\u00ebn pjes\u00eb t\u00eb tij, t\u00eb angazhuar. Nj\u00eb paradoks v\u00ebrtet i shk\u00eblqyesh\u00ebm.<\/p>\n

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\u00cbsht\u00eb pik\u00ebrisht ky moment q\u00eb ekspozon dhe kritikon hapur nj\u00eb problem thell\u00ebsisht t\u00eb rr\u00ebnjosur n\u00eb shoq\u00ebrin\u00eb ton\u00eb, struktur\u00ebn shoq\u00ebrore patriarkale. Figura e babait, Sokrati, mish\u00ebron gjith\u00e7ka patriarkale, gjith\u00e7ka t\u00eb thyer n\u00eb struktur\u00ebn ton\u00eb sociale, politike, kulturore, dhe s\u00eb fundi gjith\u00e7ka q\u00eb \u00ebsht\u00eb e l\u00ebnduar ose e kalbur brenda psikik\u00ebs njer\u00ebzore. Branku, si p\u00ebrfaq\u00ebsuesi i brezit t\u00eb ri, p\u00ebrfaq\u00ebson edhe munges\u00ebn totale t\u00eb shpres\u00ebs, dhe midis tyre t\u00eb dyve figura fem\u00ebrore ende portretizohet si viktim\u00eb e pafuqishme t\u00eb reagoj\u00eb apo t\u00eb revoltohet \u2013 madje protagonistja Olta Gixhari u nderua me \u00e7mimin \u2018Aktorja m\u00eb e mir\u00eb\u2019 n\u00eb edicionin e 11-t\u00eb t\u00eb Festivalit Nd\u00ebrkomb\u00ebtar t\u00eb Filmit \u2018Levante\u2019 n\u00eb Itali p\u00ebr rolin e saj.<\/p>\n

\u00cbsht\u00eb nj\u00eb fenomen i rrall\u00eb n\u00eb artin e filmit portretizimi i nj\u00eb monstruoziteti t\u00eb till\u00eb n\u00eb nj\u00eb m\u00ebnyr\u00eb stilistike kaq t\u00eb bukur, n\u00eb nj\u00eb tregim q\u00eb \u00ebsht\u00eb mjaft i guximsh\u00ebm p\u00ebr t\u2019iu referuar t\u00ebrthorazi nj\u00eb problemi dhe e le at\u00eb t\u00eb hapur si nj\u00eb plag\u00eb q\u00eb rrjedh gjak, p\u00ebr ta par\u00eb t\u00eb gjith\u00eb.<\/p>\n

Vrasja brutale e kafsh\u00ebs n\u00eb sken\u00ebn e par\u00eb, e cila duket e par\u00ebnd\u00ebsishme dhe se nuk ka lidhje me pjes\u00ebn tjet\u00ebr t\u00eb tregimit, \u00ebsht\u00eb n\u00eb fakt nj\u00eb moment zbulues q\u00eb v\u00eb n\u00eb dukje trajtimin klinik t\u00eb subjektit t\u00eb filmit: do t\u00eb jet\u00eb e dhimbshme, e pak\u00ebndshme, e pashpirt, dhe e pashpres\u00eb.<\/p>\n

N\u00ebse skenat nga\u00a0Taxi Driver<\/em>\u00a0i Scorsese jan\u00eb konsideruar si m\u00eb t\u00eb dhunshmet n\u00eb historin\u00eb e filmit, n\u00ebse nj\u00eb kok\u00eb kali n\u00eb nj\u00eb krevat gjumi shkaktoi tmerr n\u00eb audiencat n\u00eb\u00a0The Godfather<\/em>\u00a0t\u00eb Francis Coppola, dhe n\u00ebse Brian De Palma q\u00ebndron si regjisori m\u00eb \u2018visceral\u2019 i brezit s\u00eb tij,\u00a0Pharmakon<\/em>\u00a0i Joni Shenaj vjen p\u00ebr t\u00eb na p\u00ebrmendur k\u00ebnaq\u00ebsit\u00eb e pak\u00ebndshme t\u00eb artit t\u00eb filmit. Ndoshta as skena e ngjashme e Mevlan Shanaj tek filmi\u00a0Lule t\u00eb Kuqe Lule t\u00eb Zeza<\/em>\u00a0nuk ka t\u00eb nj\u00ebjtin dinamiz\u00ebm, t\u00eb nj\u00ebjtin efekt trondit\u00ebs. \u00cbsht\u00eb banaliteti eksesiv n\u00eb portretizimin e nj\u00eb gjesti ordinar q\u00eb krijon k\u00ebt\u00eb efekt, dhe Joni Shanaj tregohet si nj\u00eb mjesht\u00ebr i portretizimeve t\u00eb k\u00ebsaj natyre. Shpresoj q\u00eb projekti i tij i ri\u00a0Kristaq Dhamo<\/em>, nj\u00eb dokumentar q\u00eb \u00ebsht\u00eb nominuar p\u00ebr financim nga Qendra Komb\u00ebtare e Kinematografis\u00eb, do t\u00eb jet\u00eb po aq i pasionuar, i balancuar dhe i pam\u00ebshirsh\u00ebm n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb.<\/p>\n<\/div>\n

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Filmi debutues nga Joni Shanaj \u00ebsht\u00eb nj\u00eb film i dhimbsh\u00ebm p\u00ebr ta shikuar pik\u00ebrisht sepse \u00ebsht\u00eb shum\u00eb interesant dhe kuptimplot\u00eb n\u00eb disa nivele \u2013 \u00ebsht\u00eb nga ata filma, sekuenca e hapjes s\u00eb t\u00eb cil\u00ebve ka kuptim vet\u00ebm pasi filmi ka mbaruar.\u00a0Pharmakon\u00a0\u00ebsht\u00eb nj\u00eb shembull i p\u00ebrsosur i nj\u00eb ushtrimi n\u00eb stil, nj\u00eb p\u00ebrpjekje e sukseshme p\u00ebr […]<\/p>","protected":false},"author":414,"featured_media":10637,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1952],"ppma_author":[773],"class_list":["post-4203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-filmi-pharmakon"],"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\/sr\/wp-json\/wp\/v2\/posts\/4203","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=4203"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4203\/revisions"}],"predecessor-version":[{"id":10638,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/4203\/revisions\/10638"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/10637"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=4203"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=4203"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=4203"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=4203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}