{"id":5280,"date":"2020-04-29T15:36:47","date_gmt":"2020-04-29T13:36:47","guid":{"rendered":"https:\/\/sbunker.org\/?p=5280"},"modified":"2024-11-04T15:38:26","modified_gmt":"2024-11-04T13:38:26","slug":"zana-nje-film-personal-per-ceshtje-universale","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/zana-nje-film-personal-per-ceshtje-universale\/","title":{"rendered":"Zana: nj\u00eb film personal p\u00ebr \u00e7\u00ebshtje universale"},"content":{"rendered":"
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\u2018B\u00ebhu gati t\u00eb d\u00ebshtosh me filmin e par\u00eb me metrazh t\u00eb gjat\u00eb. B\u00ebj filmin q\u00eb d\u00ebshiron, eksploro kineman\u00eb\u2019 –\u00a0<\/em>Agnes Varda, AFI<\/p>\n

Tri gra. Nj\u00ebra kishte vizionin p\u00ebr t\u00eb treguar nj\u00eb fabul (Antoneta Kastrati). Tjetra kishte mjetet p\u00ebr ta realizuar vizualisht (Sevdije Kastrati). E treta kishte p\u00ebrkushtimin dhe aft\u00ebsin\u00eb p\u00ebr ta ngjallur at\u00eb n\u00eb nj\u00eb m\u00ebnyr\u00eb mjesht\u00ebrore n\u00eb ekranin e madh (Adriana Matoshi). Rezultati: \u2018Zana\u2019, nj\u00eb dram\u00eb mahnit\u00ebse, p\u00ebr traum\u00ebn e pasluft\u00ebs dhe p\u00ebr procesin e sh\u00ebrimit t\u00eb saj, e treguar n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb bukur, t\u00eb thjesht\u00eb, dhe t\u00ebrheq\u00ebse.<\/p>\n

Zana \u00ebsht\u00eb nj\u00eb bashk\u00ebpunim i Crossing Bridges Films, On Film Production dhe Alief, me skenar dhe regji nga regjisorja Antoneta Kastrati, p\u00ebr t\u00eb cil\u00ebn ky \u00ebsht\u00eb filmi debutues me metrazh t\u00eb gjat\u00eb. Gjithashtu \u00ebsht\u00eb filmi i 6-t\u00eb me metrazh t\u00eb gjat\u00eb i operatores (Director of Photography) Sevdije Kastrati, e cila \u00ebsht\u00eb gruaja e par\u00eb nga Kosova q\u00eb mban k\u00ebt\u00eb titull profesioni dhe ka fituar \u00e7mime p\u00ebr pun\u00ebn e saj brenda dhe jasht\u00eb shtetit. Adriana Matoshi luan rolin e nj\u00eb gruaje kosovare, e cila vuan ende efektet shkat\u00ebrruese t\u00eb luft\u00ebs dhe p\u00ebrpiqet t\u00eb gjej\u00eb paqe aty ku mbizot\u00ebron vet\u00ebm tmerri. Filmi ishte seleksionuar p\u00ebr kategorin\u00eb e Filmit m\u00eb t\u00eb Mir\u00eb t\u00eb Huaj n\u00eb edicionin e\u00a0 92-t\u00eb t\u00eb Akademis\u00eb, dhe mban nj\u00eb vler\u00ebsim 9.1\/10 n\u00eb IMDB! T\u00eb drejtat e filmit i ka bler\u00eb kompania Synergetic Distribution p\u00ebr ta shfaqur n\u00eb audiencat e Amerik\u00ebs t\u00eb Veriut, gj\u00eb q\u00eb konfirmon se ka nj\u00eb mas\u00eb t\u00eb madhe publiku q\u00eb jan\u00eb t\u00eb interesuar p\u00ebr dramat q\u00eb vijn\u00eb nga vende t\u00eb huaj.<\/p>\n

Filmi \u00ebsht\u00eb nj\u00eb tregim prek\u00ebs dhe drith\u00ebrues; \u00ebsht\u00eb historia e nj\u00eb gruaje, e Lumes, e cila humbi vajz\u00ebn e vetme gjat\u00eb luft\u00ebs dhe ende p\u00ebrballohet me ankthe gjat\u00eb nat\u00ebs, me presionin nga rrethanat e saj p\u00ebr t\u00eb b\u00ebr\u00eb nj\u00eb f\u00ebmij\u00eb tjet\u00ebr, dhe me veten e saj p\u00ebr t\u00eb kap\u00ebrcyer dhimbjen shpirt\u00ebrore dhe p\u00ebr t\u00eb vazhduar jet\u00ebn e saj n\u00eb paqe. Filmi krijon nj\u00eb hap\u00ebsir\u00eb p\u00ebr tematika taboo dhe t\u00eb v\u00ebshtira \u2013 sh\u00ebndeti mendor, aborti, misticiz\u00ebm bashk\u00ebkohor, sistemi patriarkal q\u00eb i z\u00eb frym\u00ebn gjinis\u00eb fem\u00ebrore dhe brutaliteti i luft\u00ebs. \u00cbsht\u00eb nj\u00eb koleksion imazhesh t\u00eb p\u00ebrhumbur, frym\u00ebzuar nga kujtime dhe p\u00ebrvoja personale t\u00eb regjisores lidhur me traum\u00ebn e luft\u00ebs, q\u00eb i ka kushtuar t\u00eb \u00ebm\u00ebn e saj dhe nj\u00eb mot\u00ebr, dhe rezulton n\u00eb nj\u00eb dram\u00eb psikologjike me potencialin p\u00ebr t\u00eb kapur efektet shkat\u00ebrruese t\u00eb luft\u00ebs n\u00eb nivelin personal dhe kolektiv. Tek intervista e saj p\u00ebr\u00a0Cineuropa<\/a>\u00a0n\u00eb shtator 2019, regjisorja sugjeron se \u2018Si komunitet ne nuk kemi p\u00ebrpunuar asnj\u00eb nga traumat e luft\u00ebs n\u00eb thell\u00ebsi\u2019, pra me k\u00ebt\u00eb projekt ajo pretendon se \u00ebsht\u00eb p\u00ebrpjekur t\u2019i dhuroj\u00eb publikut nj\u00eb p\u00ebrvoj\u00eb vizuale t\u00eb k\u00ebsaj traume, megjith\u00ebse filmi n\u00eb vetvete \u00ebsht\u00eb krijuar n\u00eb m\u00ebnyr\u00eb t\u00eb till\u00eb q\u00eb mund t\u2019i flas\u00eb kujtdo q\u00eb ka jetuar nj\u00eb traum\u00eb t\u00eb ngjashme. \u00cbsht\u00eb v\u00ebrtet nj\u00eb film mbres\u00ebl\u00ebn\u00ebs debutues.<\/p>\n

Ajo \u00e7ka i shton filmit autenticitet dhe kthjellt\u00ebsi \u00ebsht\u00eb kamera jond\u00ebrhyr\u00ebse e Sevdijes Kastrati ( [Der\u00eb e Hapur (2019), N\u00ebntori i Ftoht\u00eb (2018), Martesa (2017)]; madje mund t\u00eb them se kjo \u00ebsht\u00eb puna e saj m\u00eb e spikatur, ndoshta sepse \u00ebsht\u00eb puna e saj m\u00eb personale dhe m\u00eb af\u00ebr saj. Pasioni i saj p\u00ebr t\u00eb zhvilluar n\u00eb imazhe konkrete atmosfer\u00ebn e \u00e7do skene \u2013 qoft\u00eb nj\u00eb moment tensioni apo tmerri, ose nj\u00eb moment vajtimi apo d\u00ebshp\u00ebrimi, si dhe momente gazmore apo nj\u00eb buz\u00ebqeshje t\u00eb hareshme \u2013 \u00ebsht\u00eb e dukshme n\u00eb m\u00ebnyr\u00ebn se si ajo na kalon nga nj\u00eb gjendje shpirt\u00ebrore tek tjetra but\u00ebsisht, pa lejuar asgj\u00eb t\u00eb nd\u00ebrhyj\u00eb midis spektatorit the zhvillimit t\u00eb tregimit. Kamera e saj rri n\u00eb p\u00ebrgjim q\u00eb n\u00eb momentin e par\u00eb, dhe na t\u00ebrheq ngadal\u00eb – gati si n\u00eb nj\u00eb vall\u00ebzim – p\u00ebr t\u00eb na treguar se \u00e7far\u00eb po ndodh te kthesa tjet\u00ebr: nj\u00eb peizazh i gjelb\u00ebr si ai i f\u00ebmij\u00ebris\u00eb s\u00eb motrave Kastrati, apo nj\u00eb nat\u00eb gjumi me ankthe, nj\u00eb dim\u00ebr i ftoht\u00eb apo nj\u00eb pasdite e ngroht\u00eb n\u00eb l\u00ebndina, q\u00eb s\u00eb shpejti shnd\u00ebrrohet n\u00eb realitetin m\u00eb t\u00eb friksh\u00ebm dhe tragjik t\u00eb historis\u00eb q\u00eb po ndjekim. Realiteti dhe \u00ebndrra shk\u00ebmbehen shpesh nga nj\u00ebra tek tjetra; ngjyrat dhe p\u00ebrdorimi i drit\u00ebs apo err\u00ebsir\u00ebs jan\u00eb mjetet kryesore me t\u00eb cilat operatorja na ndihmon t\u00eb ndjekim zhvillimin e tyre. Shembulli m\u00eb karakteristik \u00ebsht\u00eb momenti kur kalojm\u00eb nga plani i Lumes (n\u00eb der\u00ebn e sht\u00ebpis\u00eb duke p\u00ebrcjell\u00eb t\u00eb shoqin, Ilirin, n\u00eb pun\u00eb nj\u00eb nat\u00eb dimri) tek plani i saj mbi nj\u00eb pus duke nxjerr\u00eb uj\u00eb p\u00ebr ta ofruar tek pjes\u00ebtar\u00ebt e familjes q\u00eb ndodhen duke punuar n\u00eb k\u00ebt\u00eb dit\u00eb t\u00eb ngroht\u00eb. Aty, gjendet dhe vajza e saj, Zana, duke rendur dhe duke qeshur, pak \u00e7aste para se tragjedia t\u00eb ndodh\u00eb, p\u00ebrs\u00ebri! Kuptohet se tani m\u00eb kemi kaluar nga realiteti i filmit brenda psikologjis\u00eb s\u00eb Lumes, brenda nj\u00eb \u00ebndrre t\u00eb saj tmerruese si gjith\u00eb t\u00eb tjerat q\u00eb kemi ndjekur deri tani. Dhe kjo sken\u00eb na p\u00ebrgatit p\u00ebr finalen e filmit, nj\u00eb sekuenc\u00eb e cila \u00ebsht\u00eb rrug\u00ebtimi i Lumes drejt paqes s\u00eb brendshme me veten e saj, ashtu si\u00e7 e k\u00ebshilloi doktori. \u00cbsht\u00eb imazhi m\u00eb trondit\u00ebs i gjith\u00eb filmit, Lumja n\u00eb m\u00ebnyr\u00eb metaforike m\u00eb n\u00eb fund gjen paqe n\u00eb krah\u00ebt e s\u00eb bij\u00ebs \u2013 dhe diku aty shohim m\u00eb n\u00eb fund dhe fytyrat e tyre t\u00eb qeshura, si engj\u00ebj n\u00eb p\u00ebrqafim; \u00ebsht\u00eb nj\u00eb vend dinjitoz p\u00ebr Lumen dhe vajz\u00ebn e saj!<\/p>\n

Adriana Matoshi \u00ebsht\u00eb absolutisht e paharrueshme n\u00eb portretizimin e Lumes. Matoshi vizaton bindsh\u00ebm portretin tragjik t\u00eb Lumes dhe shton shum\u00eb n\u00eb pamjen vizuale t\u00eb filmit p\u00ebrmes aktrimit t\u00eb saj q\u00eb harmonizon pa mundim t\u00eb tep\u00ebrt n\u00ebn\u00ebn t\u00eb vuajtur, gruan t\u00eb d\u00ebshp\u00ebruar dhe t\u00eb heshtur, dhe njeriun t\u00eb traumatizuar \u2013 t\u00eb gjitha k\u00ebto krijojn\u00eb nj\u00eb personazh t\u00eb plot\u00eb, q\u00eb mund ta njohim dhe t\u00eb na vij\u00eb keq p\u00ebr t\u00eb. Nj\u00eb t\u00ebr\u00ebsi kuadrosh kuptimplot\u00eb e fiksojn\u00eb at\u00eb n\u00eb momentet m\u00eb tragjike, m\u00eb t\u00eb frikshme, m\u00eb t\u00eb dhunshme dhe m\u00eb t\u00eb vetmuara, dhe e lejojn\u00eb t\u00eb krijoj\u00eb nj\u00eb gam\u00eb t\u00eb larmishme ndjenjash, t\u00eb cilat i p\u00ebrcjell tek spektatori me nj\u00eb thjesht\u00ebsi t\u00eb p\u00ebrsosur. Ndryshe nga karakteret monoton\u00eb t\u00eb Ornela Kapetanit n\u00eb filmin\u00a0Dita z\u00eb fill<\/em>\u00a0[Leta], dhe t\u00eb Klodjana Kecos n\u00eb filmin\u00a0Krom<\/em>, imazhi tragjik i Lumes shoq\u00ebrohet gjithashtu dhe me disa momente m\u00eb t\u00eb lehta, duke i dh\u00ebn\u00eb Lumes nj\u00eb ndjenj\u00eb m\u00eb njer\u00ebzore, dhe sigurisht i japin nj\u00eb ve\u00e7ori dhe cil\u00ebsi humane. \u00a0Me 3 \u00e7mime Aktorja m\u00eb e mir\u00eb (2 t\u00eb fituar n\u00eb 2019 p\u00ebr rolin e saj Lumja tek filmi\u00a0Shpia e Ag\u00ebs<\/em>\u00a0dhe 1 n\u00eb 2018 p\u00ebr rolin e Zan\u00ebs tek filmi\u00a0T\u2019padashtun<\/em>), ajo konfirmon edhe nj\u00eb her\u00eb talentin e saj p\u00ebr drama t\u00eb k\u00ebsaj natyre.<\/p>\n

Zana \u00ebsht\u00eb paras\u00ebgjithash nj\u00eb film shembullor p\u00ebr k\u00ebdo q\u00eb \u00ebsht\u00eb e interesuar n\u00eb tregimet vizive (visual storytelling) dhe d\u00ebshmon fuqin\u00eb e artit t\u00eb filmit p\u00ebr t\u2019i dh\u00ebn\u00eb z\u00eb njer\u00ebzve, ndjenjave, dhe tematikave q\u00eb zakonisht q\u00ebndrojn\u00eb t\u00eb heshtura.<\/p>\n<\/div>\n

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\u2018B\u00ebhu gati t\u00eb d\u00ebshtosh me filmin e par\u00eb me metrazh t\u00eb gjat\u00eb. B\u00ebj filmin q\u00eb d\u00ebshiron, eksploro kineman\u00eb\u2019 –\u00a0Agnes Varda, AFI Tri gra. Nj\u00ebra kishte vizionin p\u00ebr t\u00eb treguar nj\u00eb fabul (Antoneta Kastrati). Tjetra kishte mjetet p\u00ebr ta realizuar vizualisht (Sevdije Kastrati). E treta kishte p\u00ebrkushtimin dhe aft\u00ebsin\u00eb p\u00ebr ta ngjallur at\u00eb n\u00eb nj\u00eb m\u00ebnyr\u00eb […]<\/p>","protected":false},"author":414,"featured_media":9503,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1627],"ppma_author":[773],"class_list":["post-5280","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-filmi-zana"],"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\/5280","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=5280"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5280\/revisions"}],"predecessor-version":[{"id":9504,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5280\/revisions\/9504"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/9503"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5280"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5280"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5280"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5280"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}