{"id":5454,"date":"2019-09-05T16:04:59","date_gmt":"2019-09-05T14:04:59","guid":{"rendered":"https:\/\/sbunker.org\/?p=5454"},"modified":"2024-09-23T16:10:51","modified_gmt":"2024-09-23T14:10:51","slug":"shpia-e-ages-nje-rrefenje-e-plageve-tona","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/shpia-e-ages-nje-rrefenje-e-plageve-tona\/","title":{"rendered":"\u201cShpia e Ag\u00ebs\u201d, nj\u00eb rr\u00ebfenj\u00eb e plag\u00ebve tona"},"content":{"rendered":"
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Foto: <\/span>KARLOVY VARY INTERNATIONAL FILM<\/a><\/p>\n<\/div>\n

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Lexim sociologjik i filmit \u201cShpia e Ag\u00ebs\u201d t\u00eb Lendita Zeqirajt (2019) (Kujdes: shkrimi ka \u201cspoilers\u201d!)<\/em><\/p>\n

Ngjarja zhvillohet brenda nj\u00eb pjese t\u00eb dit\u00ebs n\u00eb nj\u00eb katund t\u00eb Kosov\u00ebs s\u00eb pasluft\u00ebs. Fokusi i kamer\u00ebs luhatet nd\u00ebrmjet rrug\u00ebs s\u00eb pluhurosur q\u00eb t\u00eb nxjerr nga katundi dhe nj\u00eb sht\u00ebpie t\u00eb m\u00ebnjanuar aty. N\u00eb t\u00eb, pes\u00eb gra t\u00eb ndryshme, Emira, Lumja, Kumrija, Gjyla dhe Zdenka, si dhe biri i mitur i Kumrijes, Aga (Agimi), i cili kurthohet n\u00eb nj\u00eb marr\u00ebdh\u00ebnie t\u00eb \u00e7uditshme me Cer\u00ebn, nj\u00eb burr\u00eb i asaj ane.<\/p>\n

Filmi nis me Ag\u00ebn i cili po rregullonte pakot e cigareve q\u00eb do t\u2019i shiste n\u00eb kafenet\u00eb e qytetit. Rrug\u00ebs s\u00eb pluhurosur e t\u00eb gjat\u00eb t\u00eb katundit, ai ndalohet nga Cera q\u00eb, si me detyrim, i ofron ta \u00e7oj\u00eb me kerrin e tij deri n\u00eb qytet. K\u00ebtu nisin peripecit\u00eb e tyre t\u00eb p\u00ebrbashk\u00ebta t\u00eb shoq\u00ebruara me humor. N\u00eb an\u00ebn tjet\u00ebr, n\u00eb sht\u00ebpin\u00eb e ve\u00e7uar grat\u00eb flasin e b\u00ebjn\u00eb hajgare \u201crreth u\u00e7kurit\u201d, kush m\u00eb lirsh\u00ebm e kush m\u00eb me ngurrim, p\u00ebr p\u00ebrvojat dhe d\u00ebshirat e tyre seksuale.<\/p>\n

Prej dialogjeve e situateve komike, m\u00eb von\u00eb filmi b\u00ebn nj\u00eb kthes\u00eb p\u00ebr t\u00eb shpalosur tragjedin\u00eb e secilit personazh: grat\u00eb e p\u00ebrdhunuara n\u00eb luft\u00eb ose t\u00eb abuzuara nga burrat, dashnor\u00ebt, shefat a familjet e tyre pas luft\u00ebs; Aga, pjell\u00eb e p\u00ebrdhunimit t\u00eb n\u00ebn\u00ebs s\u00eb tij, kuptimin e jet\u00ebs e gjen te p\u00ebrpjekja p\u00ebr t\u00eb gjetur dhe liruar babain e tij, t\u00eb cilin ai e pandehte se ishte i burgosur diku n\u00eb Serbi; Cera, nj\u00eb mesoburr\u00eb i papun\u00eb, i abuzuar dhe abuzues, oportunist, i pagdhenur dhe pa q\u00ebllim t\u00eb qart\u00eb n\u00eb jet\u00ebn e tij.<\/p>\n

N\u00eb vijim ofroj nj\u00eb lexim t\u00eb fabul\u00ebs s\u00eb filmit duke interpretuar sht\u00ebpin\u00eb dhe rrug\u00ebn e katundit si metafora t\u00eb gjendjes pezull dhe fatit t\u00eb pasigurt\u00eb t\u00eb t\u00eb margjinalizuarve t\u00eb shoq\u00ebris\u00eb, t\u00eb simbolizuar nga banor\u00ebt e sht\u00ebpis\u00eb dhe udh\u00ebtar\u00ebt e rrug\u00ebs.<\/p>\n

Sht\u00ebpia e m\u00ebnjanuar e fshatit, e menduar si streh\u00eb e p\u00ebrkohshme p\u00ebr viktimat e dhun\u00ebs seksuale dhe mashkullore n\u00eb luft\u00eb dhe pas saj, n\u00eb t\u00eb v\u00ebrtet\u00eb, del t\u00eb jet\u00eb ngujim i p\u00ebrjetsh\u00ebm n\u00eb gjendjen e kalimtare t\u00eb banor\u00ebve t\u00eb saj. Sht\u00ebpia si faz\u00eb kalimtare \u00ebsht\u00eb vendi prej t\u00eb cil\u00ebs t\u00eb harruarit e shoq\u00ebris\u00eb nuk kan\u00eb se ku me shku. Kumrijen e mban uzdaja se intervisa p\u00ebr nj\u00eb televizion t\u00eb huaj ka me i ndihmu me u arratis\u00eb e me gjet\u00eb shtegdalje nga gjendja e p\u00ebrhershme e pritjes s\u00eb zgjidhjes. E ndrojtur t\u00eb intervistohet para kamer\u00ebs, ajo k\u00ebshillohet nga Emira t\u00eb flas\u00eb, se ndoshta \u201ce sheh dikush e i ndihmon m\u2019e qit\u00eb jasht\u00eb\u201d. Nj\u00eb grua tjet\u00ebr banore e sht\u00ebpis\u00eb q\u00eb vjen m\u00eb von\u00eb n\u00eb sken\u00eb, ia kishte dalur t\u00eb \u00e7lirohej pak nga sht\u00ebpia duke krijuar nj\u00eb lidhje me nj\u00eb italian, p\u00ebr t\u00eb cil\u00ebn ajo merr qortime nga grat\u00eb m\u00eb konservatore t\u00eb sht\u00ebpis\u00eb.<\/p>\n

N\u00eb sht\u00ebpi, grat\u00eb \u00e7ojn\u00eb jet\u00eb t\u00eb ve\u00e7uar, por jo t\u00eb zymt\u00eb, derisa kryejn\u00eb pun\u00ebt rutinore, arg\u00ebtohen e qeshin madje edhe me p\u00ebrvojat e pak\u00ebndshme t\u00eb tyre, nd\u00ebrkaq terri i mbr\u00ebmjes i bashkon ato rreth \u00e7ajit e k\u00ebrcimit me tingujt e muzik\u00ebs. Sht\u00ebpia \u00ebsht\u00eb streh\u00eb p\u00ebr grat\u00eb, por vet\u00ebm brenda \u00e7atis\u00eb s\u00eb saj. Ato nuk mund t\u00eb jen\u00eb t\u00eb lira e t\u00eb sigurta jasht\u00eb saj. A kishin mundur ato, si viktima t\u00eb dhun\u00ebs mashkullore, me fol\u00eb p\u00ebr seksualitetin, p\u00ebrvojat dhe fantazit\u00eb seksuale lirsh\u00ebm pa u paragjykuar nga shoq\u00ebria?! Kush do t\u2019i ofronte mbrojtje jasht\u00eb sht\u00ebpis\u00eb-streh\u00eb Lumes\u2014t\u00eb cil\u00ebn familja e saj e kishte \u201cndrru me nj\u00eb kali\u201d tek nj\u00eb burr\u00eb\u2014prej Cer\u00ebs s\u00eb dhunsh\u00ebm q\u00eb e trajton at\u00eb si pron\u00eb t\u00eb saj?! Nd\u00ebrsa grat\u00eb mbesin n\u00eb sht\u00ebpin\u00eb e p\u00ebrkohshme-t\u00eb-p\u00ebrhershme, vet\u00ebm Aga arratiset nga sht\u00ebpia. Edhe ai, jo i shtyr\u00eb nga d\u00ebshira, sa nga tronditja kur e kupton se \u00ebsht\u00eb f\u00ebmij\u00eb i n\u00ebn\u00ebs s\u00eb p\u00ebrdhunuar dhe nga humbja e shpres\u00ebs p\u00ebr ta gjetur babain.<\/p>\n

Por, n\u00eb film viktimat e p\u00ebrdhunimit as stigmatizohen, as heroizohen. Filmi ia del t\u00eb paraqes\u00eb jet\u00ebn \u201cnormale\u201d (a simulimin e saj?) t\u00eb grave t\u00eb ve\u00e7uara n\u00eb sht\u00ebpin\u00eb strehimore. M\u00ebnyra gjeniale se si skenaristja Lendita Zeqiraj e zhvillon rr\u00ebfenj\u00ebn arrin q\u00eb para se shikuesit t\u00eb kuptojn\u00eb se grat\u00eb jan\u00eb \u201ct\u00eb \u00e7nderuara\u201d ose \u201cheroina\u201d\u2014ose me nj\u00eb cil\u00ebsim m\u00eb asnjan\u00ebs, \u201cviktima\u201d t\u00eb p\u00ebrdhunimit\u2014ato i njohim si gra normale dhe me to krijojm\u00eb relacion t\u00eb pand\u00ebrmjet\u00ebsuar nga gjykimi dhe ndjenja e keqardhjes p\u00ebr to. Kur m\u00eb von\u00eb, derisa zhvillohet rr\u00ebfimi, e kuptojm\u00eb se ato jan\u00eb viktima t\u00eb dhun\u00ebs, tashm\u00eb e dim\u00eb se edhe viktimat jan\u00eb si ne, si t\u00eb gjith\u00eb t\u00eb tjer\u00ebt, as \u201ct\u00eb \u00e7nderuara\u201d, as \u201cheroina\u201d, por, si\u00e7 shprehet vet\u00eb skenaristja n\u00eb nj\u00eb intervis\u00eb,\u00a0\u201cnjer\u00ebz normal\u00eb\u201d.<\/a><\/p>\n

P\u00ebrve\u00e7 se n\u00eb sht\u00ebpi, fabula shpaloset edhe n\u00eb rrug\u00eb. Sht\u00ebpia \u00ebsht\u00eb metafor\u00eb e gjendjes s\u00eb sigurt\u00eb dhe rehatis\u00eb pa zgjidhje q\u00eb ofron streha e saj, nd\u00ebrsa rruga simbolizon faz\u00ebn kalimtare e cila t\u00eb \u00e7on diku, por nuk dihet se ku bash. Filmi mbaron me arratisjen e Ag\u00ebs prej sht\u00ebpis\u00eb, por ky nuk \u00ebsht\u00eb mbarimi i dram\u00ebs. P\u00ebr grat\u00eb q\u00eb mbeten n\u00eb sht\u00ebpi, e dim\u00eb se nuk kan\u00eb gjetur dalje nga\u00a0status quo-ja<\/em>, por edhe e ardhmja e Ag\u00ebs q\u00eb del n\u00eb rrug\u00eb dhe p\u00ebrbihet nga err\u00ebsira e thell\u00eb e fshatit, nuk \u00ebsht\u00eb e sigurt. Ky moment paraqet mund\u00ebsin\u00eb m\u00eb t\u00eb madhe t\u00eb djemve p\u00ebr t\u2019u pavar\u00ebsuar, por t\u00ebrheq v\u00ebrejtjen p\u00ebr udh\u00ebn e pasigurt\u00eb q\u00eb ata marrin drejt rrug\u00ebtimit t\u00eb tyre p\u00ebr t\u2019u b\u00ebr\u00eb burra. Duke e l\u00ebn\u00eb t\u00eb pap\u00ebrcaktuar fatin e protagonistit, filmi troket n\u00eb nd\u00ebrgjegjen ton\u00eb dhe na shtin t\u00eb pyesim se ku e si nd\u00ebrtojn\u00eb t\u00eb margjinalizuarit e shoq\u00ebris\u00eb personalitetiet e tyre dhe a i ka hapur shoq\u00ebria krah\u00ebt p\u00ebr ata apo i ka l\u00ebn\u00eb n\u00eb m\u00ebshir\u00ebn e grupeve t\u00eb devijuara e t\u00eb kriminalizuara. K\u00ebshtu, as Aga nuk ka gjetur zgjidhjen e d\u00ebshiruar, mund t\u00eb hamend\u00ebsojm\u00eb, sepse bota t\u00eb cil\u00ebn ai e njeh \u00ebsht\u00eb kafeneja ku ai shet cigare e marihuan\u00eb dhe ku nuk \u00ebsht\u00eb i mir\u00ebpritur nga kamarier\u00ebt, si edhe Cera i dhunsh\u00ebm dhe mosdurues, por besnik, t\u00eb cilin Aga do ta marr\u00eb si model dhe figur\u00eb t\u00eb babait q\u00eb simbolizon mjedisin ku ai synon t\u00eb integrohet p\u00ebr t\u00eb plot\u00ebsuar nevoj\u00ebn psikologjike p\u00ebr pranim e p\u00ebrkitje.<\/p>\n

Filmi, pra, ofron nj\u00eb pasqyr\u00eb t\u00eb fateve t\u00eb pjes\u00ebtar\u00ebve t\u00eb p\u00ebrjashtuar e t\u00eb margjinalizuar t\u00eb shoq\u00ebris\u00eb. Fshati i larg\u00ebt dhe sht\u00ebpia e ve\u00e7uar e Ag\u00ebs bashk\u00eb me rrug\u00ebn e paasfaltuar t\u00eb cil\u00ebn ai e rreh p\u00ebrdit\u00eb, p\u00ebrfaq\u00ebson mjediset e harruara ose t\u00eb l\u00ebna pas dore nga shoq\u00ebria e shteti. Paraqitja e fshatit me sht\u00ebpin\u00eb e vjetruar, rrug\u00ebn e pamodernizuar dhe gjendjen e pashpres\u00eb t\u00eb njer\u00ebzve aty, thyen shabllonet e portretizimit romantizues t\u00eb fshatit, si\u00e7 r\u00ebndom b\u00ebhet n\u00eb ekran e fotografi. N\u00eb \u201cSht\u00ebpin\u00eb e Ag\u00ebs\u201d, pamjet e fshatit nuk p\u00ebrcillen fare me muzik\u00eb n\u00eb prarapavij\u00eb, q\u00eb na lejon t\u00eb d\u00ebgjojm\u00eb vet\u00ebm heshtjen dhe qet\u00ebsin\u00eb karakteristike t\u00eb pejsazhit t\u00eb fshatit bashk\u00eb me dram\u00ebn njer\u00ebzore q\u00eb her\u00eb pas her\u00eb e prish heshtjen. K\u00ebshtu, fshati nuk p\u00ebrdoret vet\u00ebm p\u00ebr pamje t\u00eb bukura p\u00ebr t\u00eb k\u00ebnaqur syrin sodit\u00ebs e q\u00eb zakonisht shoq\u00ebrohen me muzik\u00eb p\u00ebr t\u00eb plot\u00ebsuar imagjinaren urbane p\u00ebr idilin e fshatit q\u00eb duket sikur synon t\u00eb fsheh\u00eb an\u00ebt e pandri\u00e7uara dhe t\u00eb err\u00ebta t\u00eb jet\u00ebs n\u00eb fshat, dometh\u00ebn\u00eb n\u00eb mjediset e l\u00ebna pas dore, sipas simbolik\u00ebs. N\u00eb film, panorama piktureske e fshatit trazohet vazhdimisht nga pluhuri i rrug\u00ebs s\u00eb paasfaltuar dhe zhurma e kerrit t\u00eb vjetruar, nd\u00ebrsa heshtja qet\u00ebsuese e fushave e kodrinave rurale prishet nga r\u00ebnkimi, z\u00ebnkat, sharjet e rr\u00ebfimet e vuajtja njer\u00ebzore.<\/p>\n

N\u00eb k\u00ebto m\u00ebnyra, \u201cShpia e Ag\u00ebs\u201d \u00ebsht\u00eb edhe nj\u00eb kontribut i vyer n\u00eb artin filmik t\u00eb Kosov\u00ebs, i paraqitur me nj\u00eb mjeshtri artistike q\u00eb un\u00eb\u2014si pjes\u00ebtar i audienc\u00ebs s\u00eb pashkolluar p\u00ebr teknikat e kinematografis\u00eb\u2014e di se \u00ebsht\u00eb i till\u00eb, pa e ditur se si. Ndoshta ngaq\u00eb n\u00eb kineman\u00eb ton\u00eb na sjell pak nga dora e Tarkovskyt me xhirimet prapa shpin\u00ebve t\u00eb aktor\u00ebve q\u00eb zbulojn\u00eb pik\u00ebv\u00ebshtrimet personale t\u00eb personazheve dhe ajo e Kubrickut me fshat\u00ebrat piktureske q\u00eb fshehin vuajtjen, hipokrizin\u00eb e tragjedin\u00eb njer\u00ebzore.<\/p>\n<\/div>\n

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Foto: KARLOVY VARY INTERNATIONAL FILM Lexim sociologjik i filmit \u201cShpia e Ag\u00ebs\u201d t\u00eb Lendita Zeqirajt (2019) (Kujdes: shkrimi ka \u201cspoilers\u201d!) Ngjarja zhvillohet brenda nj\u00eb pjese t\u00eb dit\u00ebs n\u00eb nj\u00eb katund t\u00eb Kosov\u00ebs s\u00eb pasluft\u00ebs. Fokusi i kamer\u00ebs luhatet nd\u00ebrmjet rrug\u00ebs s\u00eb pluhurosur q\u00eb t\u00eb nxjerr nga katundi dhe nj\u00eb sht\u00ebpie t\u00eb m\u00ebnjanuar aty. N\u00eb t\u00eb, […]<\/p>","protected":false},"author":196,"featured_media":7889,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[957,1174,1209],"ppma_author":[700],"class_list":["post-5454","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-film","tag-patriarkati","tag-shpia-e-ages"],"authors":[{"term_id":700,"user_id":196,"is_guest":0,"slug":"gezim-selaci","display_name":"G\u00ebzim Selaci","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/1-1-e1728652765257.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/1-1-e1728652765257.jpg"},"user_url":"","last_name":"Selaci","first_name":"G\u00ebzim","description":"G\u00ebzimi Selaci \u00ebsht\u00eb ligj\u00ebrues n\u00eb Departamentin e Sociologjis\u00eb n\u00eb Universitetin e Prishtin\u00ebs. Ka studiuar Sociologji dhe Teori politike n\u00eb Prishtin\u00eb, Lond\u00ebr dhe Budapest. Specializimi i tij ka t\u00eb b\u00ebj\u00eb me legjitimimin e pushtetit dhe nd\u00ebrtimin e shtetit. Interesimi i tij p\u00ebrq\u00ebndrohet tek politika dhe pushteti n\u00eb shoq\u00ebri nga perspektiva nd\u00ebrdisiplinore dhe shtrihet tek t\u00eb kuptuarit e pranimit\/mospranimit t\u00eb autoritetit, dinamik\u00ebs s\u00eb identiteteve kolektive, si dhe aktivizmit politik."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5454","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\/196"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=5454"}],"version-history":[{"count":2,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5454\/revisions"}],"predecessor-version":[{"id":7890,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/5454\/revisions\/7890"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/7889"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=5454"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=5454"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=5454"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=5454"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}