{"id":5369,"date":"2020-01-21T13:30:02","date_gmt":"2020-01-21T11:30:02","guid":{"rendered":"https:\/\/sbunker.org\/?p=5369"},"modified":"2024-11-04T14:27:13","modified_gmt":"2024-11-04T12:27:13","slug":"vera-pa-kthim-inane-prelud-ndaj-marrezise","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/vera-pa-kthim-inane-prelud-ndaj-marrezise\/","title":{"rendered":"Vera pa Kthim (Inane): prelud ndaj marr\u00ebzis\u00eb"},"content":{"rendered":"
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\u2018Realiteti \u00ebsht\u00eb djall\u00ebzor\u2019 (Persona<\/em>, Ingmar Bergman, 1966)<\/p>\n

Nuk e mbaj mend kur qe hera e fundit kur pash\u00eb nj\u00eb film kaq interesant sa\u00a0Vera pa kthim<\/em>. Nj\u00eb film me nj\u00eb cil\u00ebsi qen\u00ebsisht teatrale dhe nj\u00eb muzikalitet q\u00eb q\u00ebndron si mjeti m\u00eb thelb\u00ebsor p\u00ebrmes t\u00eb cilit forcohet efekti dramatik, krijohet ritmi i tregimit dhe atmosfera e duhur p\u00ebr personazhet q\u00eb t\u00eb shprehen. Skena e par\u00eb funksionon si nj\u00eb prelud i k\u00ebsaj historie t\u00eb trishtuar q\u00eb ka t\u00eb b\u00ebj\u00eb me \u00ebndrra t\u00eb humbura, shpresa t\u00eb humbura dhe njer\u00ebz t\u00eb humbur. Ekrani bardh e zi, notat e k\u00ebndshme n\u00eb piano, nj\u00eb dritare e hapur q\u00eb lejon ajrin e past\u00ebr brenda, dhe hapat e nj\u00eb burri misterioz i cili po afrohet \u2013 me \u00e7do hap t\u00eb tij nj\u00eb flutur n\u00eb bark fluturon \u00e7mendurisht. \u00cbsht\u00eb Gori q\u00eb po kthehet mbas 30 vitesh p\u00ebr t\u00eb vazhduar jet\u00ebn me San\u00ebn, aty ku e nd\u00ebpren\u00eb n\u00eb koh\u00ebn e luft\u00ebs. Ajo po e pret, si gjithmon\u00eb, ai troket n\u00eb der\u00eb, dhe kur z\u00ebri i tij i thell\u00eb d\u00ebgjohet nga mbrapa der\u00ebs sikur po vjen nga nj\u00eb vend i err\u00ebt ajo humb bot\u00ebn posht\u00eb k\u00ebmb\u00ebve t\u00eb saj dhe bie p\u00ebrtok\u00eb. Ky\u00a0climax<\/em>\u00a0q\u00eb ndodh vet\u00ebm 5 minuta nga fillimi i filmit \u2013 nj\u00eb sekuenc\u00eb ve\u00e7an\u00ebrisht e bukur, plot trishtim dhe nostalgji, dhe e cila tregon nj\u00eb histori t\u00eb vog\u00ebl n\u00eb vetvete \u2013 \u00ebsht\u00eb hera e fundit kur t\u00eb dy do t\u00eb jen\u00eb t\u00eb lumtur n\u00eb krah\u00ebt e nj\u00ebri tjetrit, sepse q\u00eb tani dhe deri n\u00eb fund Sana do sillet v\u00ebrdall\u00eb duke u p\u00ebrpjekur m\u00eb kot t\u00eb ringjall\u00eb pasionin e dikursh\u00ebm.<\/p>\n

Vera pa kthim<\/em>\u00a0\u00ebsht\u00eb nj\u00eb dram\u00eb intensive, nj\u00eb histori dashurie me momente sentimentale, momente d\u00ebshp\u00ebrimi, tmerri, urrejtjeje dhe sensualiteti, me disa pika mazokizmi t\u00eb ashp\u00ebr, dhe me elemente aq nga Teatri i Mizoris\u00eb (Theatre of Cruelty) sa dhe nga Teatri i Absurdit (Theatre of the Absurd) \u2013 para se gjithash, ka nj\u00eb \u2018pseudocouple\u2019 (iluzioni i nj\u00eb \u00e7ifti q\u00eb nuk \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb \u00e7ift) n\u00eb qend\u00ebr t\u00eb tregimit. Personazhe t\u00eb humbur dhe lundrues, t\u00eb mb\u00ebrthyer n\u00eb rutina dhe n\u00eb gjeste rituale, t\u00eb bllokuar n\u00eb nj\u00eb histori; nj\u00eb gjuh\u00eb e pamjaftueshme p\u00ebr t\u00eb komunikuar, paaft\u00ebsia p\u00ebr t\u00eb shkat\u00ebrruar nj\u00eb realitet t\u00eb rrem\u00eb, t\u00eb gjitha elemente q\u00eb e b\u00ebjn\u00eb k\u00ebt\u00eb histori absurdisht t\u00eb bukur.<\/p>\n

Ka di\u00e7ka t\u00eb \u00e7oroditur nga\u00a0Who\u2019s Afraid of Virginia Wolf<\/em>\u00a0(Mike Nicholls, 1966) nj\u00eb film i adaptuar n\u00eb ekranin e madh nga shfaqja e Edward Albee i cili njihet si personazh ky\u00e7 midis absurdist\u00ebve t\u00eb koh\u00ebs t\u00eb tij dhe ku Elizabeth Taylor si Martha krijon nj\u00eb bot\u00eb t\u00eb rreme p\u00ebr ta jetuar dhe ka nj\u00eb marr\u00ebdh\u00ebnie dashurie-urrejtjeje me t\u00eb shoqin e saj. Ka di\u00e7ka tragjike nga\u00a0The Odyssey<\/em>\u00a0(Andrei Konchalovsky, 1997) ku Pinelopi e lodhur duke pritur Odisean e saj t\u00eb dashur shtrihet n\u00eb bregdet dhe p\u00ebrmes dallg\u00ebve q\u00eb p\u00ebrqafojn\u00eb trupin e saj e fton\u00eb at\u00eb p\u00ebr t\u2019u rikthyer n\u00eb\u00a0shtratin e saj. Ka di\u00e7ka paranojake nga\u00a0Persona<\/em>\u00a0(Ingmar Bergman, 1966) ku \u2018realiteti \u00ebsht\u00eb djall\u00ebzor\u2019 dhe Bibi Anderson ngadal\u00eb shnd\u00ebrrohet nga nj\u00eb infermiere n\u00eb nj\u00eb paciente. Madje\u00a0Persona\u00a0<\/em>dhe\u00a0Vera pa Kthim<\/em>\u00a0kan\u00eb nj\u00eb sken\u00eb t\u00eb ngjashme n\u00eb t\u00eb cil\u00ebn personazhi kryesor rr\u00ebfen nj\u00eb ngjarje me p\u00ebrmbajtje seksuale tek personazhi tjet\u00ebr. \u00cbsht\u00eb momenti kur infermierja Bibi Anderson i rr\u00ebfen Mrs. Vogler nj\u00eb incident q\u00eb ndodhi disa koh\u00eb m\u00eb par\u00eb, n\u00eb plazh, ku ajo bashk\u00eb me nj\u00eb shoqe u njoh\u00ebn me 2 djalosh\u00eb dhe pat\u00ebn marr\u00ebdh\u00ebnie seksuale me ta. Po ashtu ndodh edhe n\u00eb\u00a0Vera pa kthim<\/em>. Momenti m\u00eb shp\u00ebrthyes i filmit \u00ebsht\u00eb ai ku Anila Bisha, n\u00eb nj\u00eb aktrim q\u00eb na kujton momentin e saj t\u00eb fundit tek filmi\u00a0Bolero<\/em>, i tregon Gorit marr\u00ebdh\u00ebniet e saj seksuale me nj\u00eb burr\u00eb tjet\u00ebr, dhe i jep \u00e7do detaj se si ndodhi. \u00cbsht\u00eb nj\u00eb moment q\u00eb mban nj\u00eb pesh\u00eb shum\u00eb t\u00eb r\u00ebnd\u00eb n\u00eb k\u00ebt\u00eb histori sepse p\u00ebrmes San\u00ebs po na zbulohet para sysh gruaja e filmit shqiptar, sensualiteti i saj i cili i \u00ebsht\u00eb mohuar p\u00ebr dekada n\u00eb ekranin ton\u00eb t\u00eb madh. Si\u00e7 kam shkruar edhe her\u00eb tjet\u00ebr, filmi artistik n\u00eb shoq\u00ebrin\u00eb ton\u00eb ka diskualifikuar identitetin seksual t\u00eb femr\u00ebs, dhe pik\u00ebrisht k\u00ebtu n\u00eb k\u00ebt\u00eb moment e shikojm\u00eb at\u00eb q\u00eb zbulohet me sill\u00eb si nj\u00eb dallg\u00eb e madhe dhe me nj\u00eb sinqeritet t\u00eb jasht\u00ebzakonsh\u00ebm. Ashtu si\u00e7 Sana ka pritur 30 vjet p\u00ebr t\u2019ia dedikuar shpirtin dhe trupin e saj Gorit, ashtu dhe figura e gruas n\u00eb filmin shqiptar ka pritur p\u00ebr shum\u00eb koh\u00eb p\u00ebr t\u2019u zbuluar n\u00eb ekranin ton\u00eb me t\u00eb gjitha karakteristikat e saj njer\u00ebzore.<\/p>\n

Drama psikologjike e San\u00ebs p\u00ebrforcohet nga teatraliteti i gjesteve t\u00eb saj kur n\u00eb momente ky\u00e7e, filmi e lejon t\u00eb na tregohet hapur si e t\u00ebrbuar, e l\u00ebnduar, e fiksuar pas nj\u00eb dashurie t\u00eb humbur, e qar\u00eb nga dhimbja e brendshme, e hutuar sepse ka di\u00e7ka q\u00eb nuk shkon n\u00eb t\u00eb gjith\u00eb k\u00ebt\u00eb histori, e frik\u00ebsuar nga vetmia, e trishtuar nga koha e shumt\u00eb e pritjes, dhe m\u00eb n\u00eb fund e zhg\u00ebnjyer nga realiteti dhe zgjedhjet e saj p\u00ebr jet\u00ebn. Aq m\u00eb tep\u00ebr, imazhi i Gorit \u00ebsht\u00eb gjithashtu nj\u00eb element q\u00eb tregon gjendjen shpirt\u00ebrore t\u00eb San\u00ebs \u2013 i dob\u00ebt, i ngadal\u00ebt, i heshtur dhe i lodhur, sigurisht i larg\u00ebt, \u00ebsht\u00eb nj\u00eb figur\u00eb e imagjinat\u00ebs s\u00eb San\u00ebs por \u00ebsht\u00eb edhe nj\u00eb alterego e saj n\u00eb t\u00eb cilin pasqyrohet gjendja shpirt\u00ebrore e saj e rraskapitur nga jeta. Sana \u00ebsht\u00eb nj\u00eb personazh q\u00eb na kujton se \u2018pritja e pakuptimt\u00eb, \u00ebsht\u00eb e pamend\u2019 si\u00e7 \u00ebsht\u00eb shprehur regjisori i filmit Besnik Bisha n\u00eb nj\u00eb\u00a0intervist\u00eb<\/a>\u00a0p\u00ebr BalkanWeb. Sana na kujton se kufiri midis sanitetit dhe marr\u00ebzis\u00eb \u00ebsht\u00eb vet\u00ebm nj\u00eb fije e holl\u00eb dhe Gori \u00ebsht\u00eb aty p\u00ebr t\u00eb na treguar se \u00e7far\u00eb ndodh n\u00ebse ajo pritet.<\/p>\n

-Mini-interview with Anila Bisha<\/strong><\/em><\/p>\n

F. A mendoni se personazhi i San\u00ebs \u00ebsht\u00eb nj\u00eb \u2018hero\u2019 apo nj\u00eb \u2018viktim\u00eb\u2019 e rrethanave t\u00eb jet\u00ebs s\u00eb saj?<\/strong><\/em><\/p>\n

A<\/strong><\/em>. Nuk mendoj se Sana \u00ebsht\u00eb nj\u00eb heroin\u00eb. Madje e thot\u00eb edhe vet\u00eb n\u00eb nj\u00eb nga monolog\u00ebt e saj q\u00eb heroiz\u00ebm nuk ka n\u00eb rastin tim, por mendoj se kjo \u00ebsht\u00eb nj\u00eb zgjedhje nga ana e saj q\u00eb p\u00ebr mendimin tim \u00ebsht\u00eb e gabuar.<\/em><\/p>\n

F. Momenti shp\u00ebrthyes i filmit\u00a0<\/strong><\/em>Vera pa kthim<\/strong><\/em>\u00a0\u00ebsht\u00eb momenti kur Sana i tregon Gorit marr\u00ebdh\u00ebniet e saj seksuale me nj\u00eb burr\u00eb tjet\u00ebr. Kur e pash\u00eb sken\u00ebn p\u00ebr her\u00eb t\u00eb par\u00eb m\u2019u duk sikur dallova t\u00eb nj\u00ebjtin pasion tek aktrimi juaj si n\u00eb sken\u00ebn e fundit tek filmi\u00a0<\/strong><\/em>Bolero<\/strong><\/em>\u00a022 vjet m\u00eb par\u00eb, kur Ina e konfronton t\u00eb atin e saj p\u00ebr rrug\u00ebn e keqe q\u00eb ajo u detyrua t\u00eb merrte p\u00ebr t\u00eb shp\u00ebtuar familjen e saj nga varf\u00ebria. A mendoni se ka di\u00e7ka q\u00eb i lidh k\u00ebto dy personazhe?<\/strong><\/em><\/p>\n

A.<\/strong><\/em>\u00a0N\u00eb filmin\u00a0<\/em>Bolero<\/em>\u00a0ajo ka nj\u00eb shp\u00ebrthim revolte ndaj t\u00eb atit q\u00eb e akuzon se \u00ebsht\u00eb kthyer k…. e q\u00eb n\u00eb fakt ai \u00ebsht\u00eb shkaktari i transformimit t\u00eb saj n\u00eb t\u00eb till\u00eb pasi ai e braktisi familjen duke i l\u00ebn\u00eb asaj mbi supe nj\u00eb barr\u00eb t\u00eb madhe si\u00e7 ishte p\u00ebrkujdesja dhe ushqyerja e familjes. Megjith\u00ebse largimi i tij ishte p\u00ebr shkak t\u00eb varf\u00ebris\u00eb nuk e justifikon at\u00eb. Nd\u00ebrsa Sana e ndjen q\u00eb e ka b\u00ebr\u00eb kot k\u00ebt\u00eb sakrific\u00eb dhe mundohet t\u2019i jap\u00eb kuraj\u00eb vetes se n\u00eb fakt ka b\u00ebr\u00eb nj\u00eb gj\u00eb t\u00eb mir\u00eb, pra ka b\u00ebr\u00eb veprimin e duhur dhe trishtohet shum\u00eb kur e mendon q\u00eb veprimi i saj ka qen\u00eb i padobish\u00ebm. N\u00eb ndryshim nga Ina tek\u00a0<\/em>Bolero<\/em>\u00a0q\u00eb revolt\u00ebn e ka ndaj t\u00eb atit, tek Sana e ka me veten dhe mundohet ta adresoj\u00eb tek Gori q\u00eb n\u00eb fakt nuk ekziston.<\/em><\/p>\n

F. P\u00ebrfundimisht i gjith\u00eb filmi \u00ebsht\u00eb nj\u00eb \u00ebnd\u00ebrr e San\u00ebs q\u00eb p\u00ebrs\u00ebritet \u00e7do jav\u00eb. \u00cbsht\u00eb nj\u00eb element tragjik i filmit q\u00eb e transformon San\u00ebn n\u00eb nj\u00eb figur\u00eb mitike \u2013 si nj\u00eb Penelop\u00eb moderne q\u00eb pret Odisean e saj t\u00eb kthehet. Pra kemi kaluar nga figura fem\u00ebrore e rruga\u00e7es (Ina para 22 vitesh) tek figura e femr\u00ebs s\u00eb virgj\u00ebr (Sana sot). Ku q\u00ebndron Anila Bisha midis tyre si aktore, si e arrini transformimin psikik p\u00ebr t\u2019iu kushtuar sa m\u00eb shum\u00eb realiz\u00ebm k\u00ebtyre figurave?<\/strong><\/em><\/p>\n

A.<\/strong><\/em>\u00a0Ina nuk \u00ebsht\u00eb rruga<\/em>\u00e7<\/em>e por viktim\u00eb e rrethanave t\u00eb familjes dhe e shoq\u00ebris\u00eb. Nd\u00ebrsa Sana ka b\u00ebr\u00eb zgjedhje. Pra n\u00ebse Ina ka b\u00ebr\u00eb zgjedhje t\u00eb gabuar p\u00ebr arsye t\u00eb rrethanave t\u00eb krijuara, pra u viktimizua. Sana mendoj ka b\u00ebr\u00eb zgjedhje t\u00eb gabuar t\u00eb cil\u00ebn shpesh mundohet t\u2019ia servir\u00eb vetes si nj\u00eb gj\u00eb t\u00eb mir\u00eb. Pra kjo \u00ebsht\u00eb lufta e brendshme q\u00eb zhvillohet brenda saj. K\u00ebto p\u00ebrjetime me kan\u00eb b\u00ebr\u00eb q\u00eb ta b\u00ebj diferenc\u00ebn thelb\u00ebsore midis k\u00ebtyre dy personazheve.<\/em><\/p>\n

F. Gori \u00ebsht\u00eb kthyer pas 30 vitesh, dhe q\u00eb n\u00eb momentin e par\u00eb i thot\u00eb San\u00ebs se e ka p\u00ebrv\u00ebluar malli. Megjithat\u00eb, gjat\u00eb gjith\u00eb koh\u00ebs ai \u00ebsht\u00eb i shk\u00ebputur nga bota dhe nga Sana \u2013 si ka ndikuar ky fakt n\u00eb realizimin e karakterit t\u00eb San\u00ebs n\u00eb marr\u00ebdh\u00ebniet e saj me Gorin?<\/strong><\/em><\/p>\n

A.<\/strong><\/em>\u00a0Gori \u00ebsht\u00eb imagjinat\u00eb e San\u00ebs. Ajo e ka nd\u00ebrtuar figur\u00ebn e tij sipas imagjinat\u00ebs s\u00eb saj si njeriun me t\u00eb cilin do t\u00eb debatonte p\u00ebr t\u00eb gjitha dilemat e saj. E p\u00ebr k\u00ebto dilema ajo nuk mund t\u00eb debatonte me kurrk\u00ebnd tjet\u00ebr p\u00ebrve\u00e7 tij. Dhe n\u00eb p\u00ebrfundim t\u00eb k\u00ebtij debati monolog \u00ebsht\u00eb VETMIA duke refuzuar t\u00eb nd\u00ebrtoj\u00eb familje, por t\u00eb jetoj\u00eb e vetme. Gj\u00eb q\u00eb \u00ebsht\u00eb e pariparueshme p\u00ebr sa t\u00eb jet\u00eb gjall\u00eb.<\/em><\/p>\n

-Mini-interview with Neritan Li\u00e7aj<\/strong><\/p>\n

F. Kush ka qen\u00eb deri tani personazhi m\u00eb sfidues p\u00ebr ju, qoft\u00eb n\u00eb teat\u00ebr apo n\u00eb film, dhe pse?<\/strong><\/p>\n

N.<\/strong><\/em>\u00a0T\u00eb gjith\u00eb personazhet jan\u00eb sfid\u00eb e re dhe impenjative nga pik\u00ebpamja profesionale! Kjo \u00ebsht\u00eb e bukura e profesionit ton\u00eb. Ka personazhe q\u00eb kan\u00eb nj\u00eb specifik\u00eb ose ve\u00e7ori t\u00eb v\u00ebshtira p\u00ebr t\u2019u perceptuar, njohur dhe sigurisht p\u00ebr t\u2019u interpretuar. P.sh. narkomania, nj\u00eb njeri me personalitet t\u00eb shqet\u00ebsuar dhe karakter t\u00eb dualizuar, me madh\u00ebsi intelekti ose personazhe q\u00eb jan\u00eb nj\u00eb metafor\u00eb personazh si p.sh. n\u00eb rastin e Gorit t\u00eb Inane. T\u00eb gjith\u00eb k\u00ebta q\u00eb p\u00ebrmenda m\u00eb lart si personazhe me specifik\u00eb t\u00eb ve\u00e7ant\u00eb i kam interpretuar. Por t\u00eb till\u00eb ka plot n\u00eb dramaturgji dhe q\u00eb k\u00ebrkojn\u00eb shum\u00eb pun\u00eb.<\/em><\/p>\n

F. Cili \u00ebsht\u00eb procesi juaj n\u00eb afrimin dhe nd\u00ebrtimin i nj\u00eb personazhi dhe \u00e7far\u00eb ju ndihmon t\u2019i afroheni personazheve tuaj?<\/strong><\/em><\/p>\n

N.<\/strong><\/em>\u00a0Procesi i par\u00eb dhe shum\u00eb i r\u00ebnd\u00ebsish\u00ebm \u00ebsht\u00eb njohja e personazhit. Kur them njohja do t\u00eb thot\u00eb ta zb\u00ebrthesh personazhin dhe t\u00eb b\u00ebsh nj\u00eb pun\u00eb t\u00eb thell\u00eb njohjeje dhe zb\u00ebrthimi t\u00eb tij. Pa k\u00ebt\u00eb faz\u00eb t\u00eb par\u00eb t\u00eb b\u00ebr\u00eb mir\u00eb, nuk konsiderohet faza e nd\u00ebrtimit t\u00eb personazhit e cila synon t\u2019i afrohet asaj \u00e7ka dramaturgjia jep dhe k\u00ebndv\u00ebshtrimit regjisorial mbi personazhin. Aktori \u00ebsht\u00eb si mit\u00ebr… merr nj\u00eb skelet, t\u00eb themi t\u00eb vdekur, e bardha mbi t\u00eb zez\u00eb (n\u00eb let\u00ebr) dhe i jep atij fizionomi… kocka, nerva, muskuj, mend\u00ebsi, shpirt, m\u00ebnyr\u00eb t\u00eb ecuri dhe gjith\u00e7ka… pra lind nj\u00eb qenie.<\/em><\/p>\n

F.\u00a0<\/strong><\/em>\u03a4<\/strong><\/em>ek filmi\u00a0<\/strong><\/em>Vera pa kthim<\/strong><\/em>, cili ishte momenti ose aspekti m\u00eb i v\u00ebshtir\u00eb p\u00ebr ju si aktor p\u00ebr ta realizuar personazhin e Gorit sa m\u00eb natyrsh\u00ebm?<\/strong><\/em><\/p>\n

N.<\/strong><\/em>\u00a0Personazhi i Gorit \u00ebsht\u00eb nj\u00eb personazh inekzistent n\u00eb jet\u00eb… ai vjen n\u00eb \u00ebndrr\u00ebn e Dan\u00ebs ose n\u00eb subkonshin e saj… pra nuk \u00ebsht\u00eb nj\u00eb fantaz\u00ebm por nj\u00eb njeri q\u00eb ekziston duke mosekzistuar. Sana thot\u00eb n\u00eb nj\u00eb batut\u00eb: \u2018ka di\u00e7ka q\u00eb nuk shkon k\u00ebtu\u2019, pra Gori duhet t\u00eb nd\u00ebrtohej sa njer\u00ebzor dhe konkret aq edhe jokonkret. Kjo ishte ajo \u00e7ka duhet t\u00eb realizonim me ato role. Uroj t\u2019ia kemi arritur.<\/em><\/p>\n

F. \u00c7far\u00eb mund t\u00eb na tregoni n\u00eb lidhje me bashk\u00ebpunimin tuaj me Anila Bish\u00ebn si co-star i filmit?<\/strong><\/em><\/p>\n

N.<\/strong><\/em>\u00a0Ishte nj\u00eb bashk\u00ebpunim i mrekulluesh\u00ebm si me producent\u00ebt edhe me Anil\u00ebn. Anil\u00ebn e kam mikesh\u00eb q\u00eb nga studimet, kemi luajtur shpesh bashk\u00eb dhe e njohim shum\u00eb mir\u00eb nj\u00ebri tjetrin profesionalisht pra kuptohemi pa fjal\u00eb… dhe \u00ebsht\u00eb partnere e mrekullueshme q\u00eb t\u00eb jep shum\u00eb dhe e ngroht\u00eb interpretativisht. Me produksionin kam qen\u00eb ekstremisht i k\u00ebnaqur pasi gjith\u00e7ka ishte perfekte dhe Besniku si regjisor \u00ebsht\u00eb shum\u00eb frym\u00ebzues, i kthjell\u00ebt, k\u00ebrkues dhe shum\u00eb i v\u00ebmendsh\u00ebm me aktorin. I kushton shum\u00eb r\u00ebnd\u00ebsi. M\u00eb tep\u00ebr s\u2019mund t\u00eb k\u00ebrkosh nga nj\u00eb regjisor.<\/em><\/p>\n

F. Gori \u00ebsht\u00eb nj\u00eb njeri i kthyer nga varri, dhe nuk lidhet dot me bot\u00ebn e sotme. A kishte di\u00e7ka q\u00eb ju d\u00ebshironit t\u00eb tregonit tek spektator\u00ebt p\u00ebrmes k\u00ebtij personazhi, di\u00e7ka relevant n\u00eb dit\u00ebt tona?<\/strong><\/em><\/p>\n

N.<\/strong><\/em>\u00a0Nuk \u00ebsht\u00eb se ka t\u00eb b\u00ebj\u00eb me dit\u00ebt tona si personazh… por n\u00eb k\u00ebndv\u00ebshtrimin e gjith\u00eb filmit \u00ebsht\u00eb \u00ebndrra e parealizuar dhe Dana duke u dashuruar ose duke mbetur prej 30 vitesh e dashuruar me Hirin shtron pyetjen e asaj \u00e7ka filmi do t\u00eb thot\u00eb: \u2018pse duhet pritur t\u00ebr\u00eb jet\u00ebn di\u00e7ka q\u00eb e di q\u00eb s\u2019do t\u00eb vij\u00eb kurr\u00eb\u2019. Ka t\u00eb b\u00ebj\u00eb me dit\u00ebt e sotme pasi ne shqiptar\u00ebt ngel\u00ebm duke pritur dhe s\u2019po vjen asgj\u00eb nga ajo q\u00eb ne d\u00ebshirojm\u00eb q\u00eb t\u00eb vij\u00eb… pra presim Godon\u00eb.<\/em><\/p>\n<\/div>\n

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\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

\u2018Realiteti \u00ebsht\u00eb djall\u00ebzor\u2019 (Persona, Ingmar Bergman, 1966) Nuk e mbaj mend kur qe hera e fundit kur pash\u00eb nj\u00eb film kaq interesant sa\u00a0Vera pa kthim. Nj\u00eb film me nj\u00eb cil\u00ebsi qen\u00ebsisht teatrale dhe nj\u00eb muzikalitet q\u00eb q\u00ebndron si mjeti m\u00eb thelb\u00ebsor p\u00ebrmes t\u00eb cilit forcohet efekti dramatik, krijohet ritmi i tregimit dhe atmosfera e duhur […]<\/p>","protected":false},"author":414,"featured_media":9431,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[1610,1609],"ppma_author":[773],"class_list":["post-5369","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-drame","tag-vera-pa-kthim"],"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\/5369","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=5369"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5369\/revisions"}],"predecessor-version":[{"id":9432,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5369\/revisions\/9432"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/9431"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5369"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5369"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5369"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5369"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}