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Nga\u00a0Ela Wamsler<\/strong><\/em><\/span><\/p>\n Filmi shqiptar nuk ka njohur ndonj\u00ebher\u00eb kaq shum\u00eb sukses n\u00eb skenat nd\u00ebrkomb\u00ebtare. Jo vet\u00ebm p\u00ebrzgjedhja n\u00eb kompeticione nd\u00ebrkomb\u00ebtare t\u00eb filmit \u00ebsht\u00eb e v\u00ebshtir\u00eb, por edhe vler\u00ebsimi. <\/span><\/p>\n Mir\u00ebpo k\u00ebto dy v\u00ebshtir\u00ebsi duket sikur nj\u00eb regjisor shqiptar i kap\u00ebrcen leht\u00ebsisht. Ai \u00ebsht\u00eb Bujar Alimani. Filmat e tij \u201cAmnistia\u201d (2011), \u201cKrom\u201d (2015) dhe \u201cDelegacioni\u201d (2018) jan\u00eb shfaqur n\u00eb shumic\u00ebn e festivaleve nd\u00ebrkomb\u00ebtare dhe madje, edhe n\u00eb festivalet e Kategoris\u00eb A. <\/span><\/p>\n Nj\u00eb prej tyre ishte edhe Festivali i Filmit n\u00eb Varshav\u00eb, ku filmi shqiptar u shfaq me shum\u00eb sukses dhe u vler\u00ebsua me dy \u00e7mime: \u00c7mimin Ecumenikal (p\u00ebr mesazhet e paqes dhe marr\u00ebdh\u00ebniet e ve\u00e7anta njer\u00ebzore) dhe \u00e7mimin kryesor Grand Prix, p\u00ebr Filmin m\u00eb t\u00eb Mir\u00eb t\u00eb vitit 2018. Ky \u00ebsht\u00eb \u00e7mimi m\u00eb i madh nd\u00ebrkomb\u00ebtar me t\u00eb cilin nderohet kinemja shqiptare, nj\u00eb fakt ky p\u00ebr tu n\u00ebnvizuar. <\/span><\/p>\n T\u00eb tre filmat\u00a0 e tij kan\u00eb garuar n\u00eb Oscar, n\u00eb kategorin\u00eb e filmit joanglishtfol\u00ebs. K\u00ebto fakte e b\u00ebjn\u00eb Alimanin regjisorin e vet\u00ebm shqiptar me kaq shum\u00eb pjes\u00ebmarrje n\u00eb festivalet m\u00eb prestigjioze n\u00eb bot\u00eb, si edhe t\u00eb vetmin me tre kandidatura zyrtare t\u00eb Shqip\u00ebris\u00eb n\u00eb Oscar.<\/span><\/p>\n \u00c7do film i tij i gjat\u00eb ka shfaqur premier\u00ebn bot\u00ebrore n\u00eb nj\u00eb Festival t\u00eb kategoris\u00eb A: \u201cAmnistia\u201d n\u00eb Berlin, \u201cKrom\u201d n\u00eb Karlovy Vary dhe \u201cDelegacioni\u201d n\u00eb Varshav\u00eb. Gjithashtu, \u201cAmnistia\u201d \u00ebsht\u00eb i vetmi film shqiptar q\u00eb \u00ebsht\u00eb shfaqur n\u00eb Muzeun e Artit Modern MOMA n\u00eb New York n\u00eb Janar t\u00eb 2012. <\/span><\/p>\n Duhet th\u00ebn\u00eb, se Alimani \u00ebsht\u00eb regjisori me produktivitetin m\u00eb t\u00eb lart\u00eb n\u00eb kineman\u00eb moderne shqiptare, at\u00eb t\u00eb pas viteve 2000, me tre filma me metrazh t\u00eb plot\u00eb, nj\u00eb me metrazh t\u00eb mes\u00ebm (\u201cV\u00ebthi i munguar\u201d), kat\u00ebr me metrazh t\u00eb shkurt\u00ebr (\u201cKatoi\u201d, \u201cGaz\u201d,\u201dBusulla\u201d dhe \u201cNj\u00eb histori dashurie\u201d) dhe nj\u00eb dokumentar (\u201cZois\u201d). <\/span><\/p>\n Po t\u00eb vazhdonim me t\u00eb tjera detaje rreth arritjeve artistike t\u00eb filmave, \u00e7mimet e shumta nd\u00ebrkomb\u00ebtare etj, do t\u00eb duhej shum\u00eb hap\u00ebsir\u00eb dhe koh\u00eb. <\/span><\/p>\n Por ajo q\u00eb vihet re bindsh\u00ebm n\u00eb zhvillimin artistik t\u00ebr\u00ebsor \u00ebsht\u00eb fakti, se regjisori imir\u00ebnjohur po shenjon me filmat e tij dekad\u00ebn \u201cAlimani\u201d n\u00eb kineman\u00eb shqiptare. Dhe kjo do t\u00eb mbahet mend n\u00eb kujtes\u00ebn kinematografike si nj\u00eb moment kthese. Pse-n\u00eb e suksesit do ta sqarojm\u00eb m\u00eb posht\u00eb.<\/span><\/p>\n Ku q\u00ebndron \u00e7el\u00ebsi i suksesit t\u00eb filmave me n\u00ebnshkrimin Alimani?<\/span><\/p>\n S\u00eb pari, Alimani \u00ebsht\u00eb nj\u00eb regjisor q\u00eb b\u00ebn filma autor\u00eb, si\u00e7 quhen ata filma q\u00eb nuk jan\u00eb komercial\u00eb dhe q\u00eb kan\u00eb p\u00ebr baz\u00eb n\u00eb realizimin e tyre nj\u00eb regji t\u00eb fort\u00eb dhe subjekte me tema universale. <\/span><\/p>\n Vet\u00ebm ky fakt duhet t\u00eb sh\u00ebnoj\u00eb suksesin num\u00ebr nj\u00eb t\u00eb kinemas\u00eb son\u00eb, q\u00eb edhe n\u00eb koh\u00ebt moderne, ku kinemaja bot\u00ebrore \u00ebsht\u00eb e zhytur n\u00eb komercializ\u00ebm, p\u00ebrs\u00ebri ka regjisor\u00eb q\u00eb guxojn\u00eb me filma t\u00eb nj\u00eb cil\u00ebsie t\u00eb lart\u00eb, q\u00eb vet\u00ebm kritika profesionale mund t’i vler\u00ebsoj\u00eb n\u00eb gjith\u00eb komponent\u00ebt e tyre.<\/span><\/p>\n S\u00eb dyti, filmat e Alimanit kan\u00eb shum\u00eb t\u00eb fort\u00eb elementin historik: jo si rr\u00ebfim kohor, por si nj\u00eb d\u00ebshmi e zhvillimeve social- politike t\u00eb koh\u00ebs, qoft\u00eb asaj t\u00eb shkuar, ashtu edhe asaj t\u00eb tashme. Madje, filli i holl\u00eb q\u00eb ndan aspektin kohor n\u00eb filmat e tij thuajse harrohet gjat\u00eb shikimit t\u00eb filmit, pasi n\u00eb fakt situatat shpesh jan\u00eb aktuale, si\u00e7 ishte rasti n\u00eb filmin \u201cDelegacioni\u201d. <\/span><\/p>\n Njeriu intelektual edhe sot p\u00ebrballet me sfidat politike q\u00eb duan t’i imponohen, t\u00eb p\u00ebrfitojn\u00eb prej tij ose ta zhb\u00ebjn\u00eb njeriun, duke mos ia l\u00ebn\u00eb t\u00eb lira aft\u00ebsit\u00eb zhvilluese. Ky \u00ebsht\u00eb nj\u00eb mesazh i pakoh\u00eb, por natyrisht n\u00eb koh\u00ebn kur vendoset filmi, n\u00eb diktatur\u00eb, e mish\u00ebron m\u00eb s\u00eb miri moton e sistemit. <\/span><\/p>\n Tek filmi \u201cKrom\u201d pasqyrohet nj\u00eb realitet, p\u00ebr t\u00eb cilin jemi t\u00eb gjith\u00eb t\u00eb nd\u00ebrgjegjsh\u00ebm q\u00eb\u00ebsht\u00eb ende aktual: f\u00ebmij\u00eb dhe prind\u00ebr q\u00eb punojn\u00eb n\u00eb miniera p\u00ebr t\u00eb siguruar t\u00eb ardhmen, varf\u00ebri, l\u00ebnie pas dore nga ana e shtetit e k\u00ebsaj zone t\u00eb pasur t\u00eb Shqip\u00ebris\u00eb jan\u00eb nj\u00eb pasqyr\u00eb aktuale e realitetit edhe sot. <\/span><\/p>\n \u201cAmnistia\u201d p\u00ebrshkohet e t\u00ebra nga tema e nj\u00eb shoq\u00ebrie me mend\u00ebsi t\u00eb s\u00ebmur\u00eb, q\u00eb ka hyr\u00eb n\u00eb t\u00eb gjitha qelizat e saj: n\u00eb familje, n\u00ebinstitucione, n\u00eb rrug\u00eb, tek njer\u00ebzit dhe kudo. Kjo \u00ebsht\u00ebnj\u00eb nga linjat q\u00eb ka shkruar historin\u00eb shqiptare: vrasja p\u00ebr tradhti, p\u00ebr hakmarrje, p\u00ebr nder.<\/span><\/p>\n S\u00eb treti, n\u00eb filmat e Alimanit ndjehet nj\u00eb impuls i fort\u00eb estetik q\u00eb shprehet me gjuh\u00ebn e piktur\u00ebs, pra me imazhe. P\u00ebr imazhin ka shum\u00eb p\u00ebr t\u00eb th\u00ebn\u00eb, q\u00eb nga fakti q\u00eb Alimani \u00ebsht\u00eb vet\u00eb piktor n\u00eb profesion dhe ndikimi prej ngjyrave ka qen\u00eb nj\u00eb nga element\u00ebt kryesor\u00eb q\u00eb ai ka shfryt\u00ebzuar n\u00eb filmat e tij. <\/span><\/p>\n Perdorimi i drit\u00ebs, zgjedhja e k\u00ebndit t\u00eb xhirimit, hap\u00ebsira e planeve dhe ekuilibrimi i gjith\u00e7kaje n\u00eb kuad\u00ebr, p\u00ebrfshi pun\u00ebn me ngjyrat, t\u00eb kujton absolutisht tablo t\u00eb pikturave. \u00cbsht\u00eb p\u00ebr t’u p\u00ebrmendur fakti, q\u00eb te \u201cAmnistia\u201d shpesh pritjet e Luli Bitrit te kafeneja e burgut menj\u00ebher\u00eb t\u00eb sjellin nd\u00ebr mend pikturat e Eduard Hooper.<\/span><\/p>\n Skena e par\u00eb e filmit \u201cAmnistia\u201d hapet pik\u00ebrisht me ngjyrat n\u00eb nj\u00eb fabrik\u00eb, ku shohim t\u00eb kuqen dominuese q\u00eb mbyll edhe filmin n\u00eb sken\u00ebn tragjike t\u00eb vrasjes s\u00eb personazhit kryesor. <\/span><\/p>\n Po ashtu, ngjyra merr shum\u00eb rol n\u00eb filmin e fundit \u201cDelegacioni\u201d, ku grija e agimit t\u00eb nj\u00eb dite t\u00eb re metaforikisht sinjalizon lindjen e nj\u00eb epoke t\u00eb re, por q\u00eb zgjat shum\u00eb dhe e b\u00ebn t\u00eb v\u00ebshtir\u00eb fush\u00ebpamjen (kjo edhe n\u00eb realitet, pasi filmi zhvillohet n\u00eb gjysm\u00eb err\u00ebsir\u00eb n\u00eb nj\u00eb pjes\u00eb t\u00eb konsiderueshme t\u00eb minutazhit t\u00eb tij). <\/span><\/p>\n Paralelizmi i ngjyr\u00ebs duket edhe tek \u201cKrom\u201d, ku shk\u00eblqimi i gurit t\u00eb kromit q\u00eb mban n\u00eb duar personazhi kryesor p\u00ebrkon me d\u00ebshir\u00ebn p\u00ebr t\u00eb b\u00ebr\u00eb di\u00e7ka me r\u00ebnd\u00ebsi n\u00eb jet\u00ebn e tij, ka lidhje me optimizmin dhe shpres\u00ebn q\u00eb p\u00ebrndizet brenda nj\u00eb djali t\u00eb ri q\u00eb po burr\u00ebrohet.<\/span><\/p>\n S\u00eb kat\u00ebrti, gjuha e shprehur nuk e lodh shikuesin, dialogjet jan\u00eb shkurtra dhe t\u00eb qarta, nuk l\u00ebn\u00eb ekuivoke. Shikuesi e merr leht\u00ebsisht mesazhin, sepse b\u00ebhet i qart\u00eb. Alimani \u00ebsht\u00eb skenarist i gjith\u00eb filmave t\u00eb tij, p\u00ebrve\u00e7 \u201cDelegacionit\u201d. <\/span><\/p>\n N\u00eb aspektin e dialogjeve merr shum\u00eb r\u00ebnd\u00ebsi aspekti emotiv i karaktereve, i varur ky nga situatat, ku shpesh shikimet flasin m\u00eb shum\u00eb. Psh. tek \u201cAmnistia\u201d ne e ndiejm\u00eb q\u00eb personazhi grua n\u00eb sken\u00ebn erotike me t\u00eb shoqin n\u00eb burg nuk ka d\u00ebshir\u00eb, por ndjen detyrimin bashk\u00ebshortor dhe p\u00ebr k\u00ebt\u00eb regjisori nuk jep asnj\u00eb dialog. <\/span><\/p>\n N\u00ebna \u00ebsht\u00eb memece tek filmi \u201cKrom\u201d, q\u00ebllimisht p\u00ebr t\u00eb rritur mbajtjen pezull t\u00eb publikut: ajo nuk flet me karakteret e tjera, por ne p\u00ebrqendrohemi t\u00eb kuptojm\u00eb\u00e7do veprim t\u00eb sajin n\u00eb funksion t\u00eb gjuh\u00ebs. <\/span><\/p>\n T\u00eb tilla dialogje t\u00eb munguara e mbushin me mendim filmin, mendim ky q\u00eb vjen tek shikuesi p\u00ebrmes imazhit, q\u00eb k\u00ebshtu zb\u00ebrthen edhe kuptimin e fabul\u00ebs, edhe zhvillimin e brendsh\u00ebm t\u00eb karaktereve.<\/span><\/p>\n S\u00eb pesti, elementi emocional. Nuk mund t\u00eb mos ndjehet n\u00eb t\u00eb gjith\u00eb filmat e tij ky element kaq i fort\u00eb. Nuk jan\u00eb filma q\u00eb t\u00eb japin thjesht nj\u00eb buz\u00ebqeshje, apo t\u00eb l\u00ebn\u00eb n\u00eb fytyr\u00eb nj\u00eb ndjesi habie. Jo. K\u00ebta filma t\u00eb l\u00ebn\u00eb pezull, t\u00eb japin nj\u00eb emocion t\u00eb fort\u00eb, qoft\u00eb negativ apo pozitiv, nj\u00ebsoj si historia q\u00eb tregohet, sikurse p\u00ebrjetimet e personazheve.<\/span><\/p>\n P\u00ebr t\u00eb na e zb\u00ebrthyer ne si shikues m\u00eb leht\u00eb mesazhin, regjisori p\u00ebrdor simbolika t\u00eb r\u00ebnd\u00ebsishme dhe jo t\u00eb stisura, por mjaft logjike, madje edhe gjetje inteligjente. Nj\u00eb e till\u00eb \u00ebsht\u00eb makina n\u00eb filmin \u201cDelegacioni\u201d, q\u00eb simbolizon sistemin politik shqiptar q\u00eb po kalon faz\u00ebn tranzitore n\u00eb rrug\u00ebn drejt demokracis\u00eb. Ky personazh i pest\u00eb, si\u00e7 \u00ebsht\u00eb shprehur Alimani, ka nj\u00eb pesh\u00eb t\u00eb vet\u00ebn. <\/span><\/p>\n Ai \u00ebsht\u00eb n\u00eb situat\u00ebn e nj\u00eb ngjitjeje t\u00eb v\u00ebshtir\u00eb, nj\u00eb rrug\u00eb e p\u00ebrpjet\u00eb, q\u00eb me zor e p\u00ebrballon. Kur makina prishet, rreth e rrotull nuk gjendet asnj\u00eb ‘usta’ q\u00eb ta ndreq\u00eb, element ky q\u00eb gjithashtu hap nj\u00eb shteg kuptimi p\u00ebr v\u00ebshtir\u00ebsit\u00eb e rrethanave vendore, jo vet\u00ebm atyre kohore: nj\u00eb vend i humbur, pa ‘mjetet’ e duhura p\u00ebr t\u00eb shkuar drejt demokracis\u00eb. <\/span><\/p>\n P\u00ebr k\u00ebt\u00eb gjetje regjisoriale gazeta gjermane LR Online shkruan \u201cKaputtes Auto, kaputtes System\u201d (makin\u00eb e prishur, sistem i prishur). Rruga q\u00eb p\u00ebrshkon grupi \u00ebsht\u00eb vendosur n\u00eb nj\u00eb fshat, nj\u00eb zon\u00eb rurale ku as telefon nuk ka. Ironia e shoq\u00ebron t\u00eb gjith\u00eb pjes\u00ebn e dyt\u00eb t\u00eb filmit, ku humori i holl\u00eb q\u00eb nuk pritet n\u00eb nj\u00eb subjekt kaq tragjik del n\u00eb pah paralelisht me daljen e diellit. <\/span><\/p>\n Po k\u00ebshtu, filmi \u201cKrom\u201d duhet th\u00ebn\u00eb se ka nj\u00eb simbolik\u00eb t\u00eb fort\u00eb, t\u00eb shp\u00ebrndar\u00eb n\u00eb detaje t\u00eb vogla kuptimore. K\u00ebshtu psh. Adi, djali adoleshent, q\u00eb \u00ebsht\u00eb personazhi kryesor, shikon tek m\u00ebsuesja modelin e tij t\u00eb rinis\u00eb, at\u00eb se \u00e7do t\u00eb thot\u00eb t\u00eb jesh i maturuar (mbi 18 vje\u00e7) dhe i lir\u00eb t\u00eb b\u00ebsh \u00e7far\u00eb t\u00eb duash. Ajo \u00ebsht\u00eb nj\u00eb m\u00ebsuese moderne q\u00eb jeton e pavarur n\u00eb nj\u00eb qytez\u00eb, q\u00eb d\u00ebgjon muzik\u00eb metal dhe vishet sikur vjen nga nj\u00eb epok\u00eb tjet\u00ebr. <\/span><\/p>\n Mir\u00ebpo kush vjen nga qytetet e vogla e di mir\u00eb, se gjithmon\u00eb \u00ebsht\u00eb dikush q\u00eb bie n\u00eb sy m\u00eb shum\u00eb se t\u00eb tjer\u00ebt, q\u00eb injoron mentalitetet e ndrydhura, megjith\u00eb sakrificat dhe vuajtjet shpirt\u00ebrore q\u00eb e shoq\u00ebrojn\u00eb k\u00ebt\u00eb proces t\u00eb ngritjes s\u00eb unit personal mbi shoq\u00ebrin\u00eb. Kjo tem\u00eb e sintetizuar n\u00eb nj\u00eb karakter, p\u00ebrb\u00ebn nj\u00eb mesazh t\u00eb r\u00ebnd\u00ebsish\u00ebm t\u00eb filmit, q\u00eb na jep dor\u00ebt\u00eb kuptojm\u00eb m\u00eb mir\u00eb personazhin kryesor.<\/span><\/p>\n S\u00eb fundmi, por jo m\u00eb pak e r\u00ebnd\u00ebsishmja, \u00ebsht\u00eb zgjedhja e aktor\u00ebve. P\u00ebr regjisorin ka r\u00ebnd\u00ebsi nj\u00eb kast\u00eb e mir\u00eb aktor\u00ebsh, ajo \u00ebsht\u00eb- si\u00e7 thot\u00eb vet\u00eb regjisori- 50 % e suksesit. <\/span><\/p>\n Por Alimani ka treguar me filmat e tij m\u00eb t\u00eb hersh\u00ebm, se edhe aktor\u00eb fare ose pak t\u00eb njohur p\u00ebr publikun mund t\u00eb q\u00ebndrojn\u00eb shum\u00eb mir\u00eb n\u00eb nj\u00eb film t\u00eb \u00e7far\u00ebdolloj p\u00ebrmase (me metrazh t\u00eb shkurt\u00ebr apo t\u00eb gjat\u00eb qoft\u00eb, pra pavar\u00ebsisht pesh\u00ebs apo v\u00ebshtir\u00ebsis\u00eb s\u00eb filmit). <\/span><\/p>\n Kjo k\u00ebrkon guxim, \u00ebsht\u00eb risk p\u00ebr filmin dhe p\u00ebr vet\u00eb karrier\u00ebn e \u00e7do regjisori. N\u00eb fush\u00ebn e kinematografis\u00eb thuhet, se nj\u00eb regjisor i mir\u00eb shnd\u00ebrron \u00e7do aktor n\u00eb brilant. Dhe mesa duket ky \u00ebsht\u00eb rasti. <\/span><\/p>\n K\u00ebshtu, Luli Bitri nuk ka shk\u00eblqyer asnj\u00ebher\u00eb si tek \u201cAmnistia\u201d, partneri i saj n\u00eb rol, Karafil Shena, edhe pse nuk njihej nga publiku, e kishte b\u00ebr\u00eb t\u00eb vetin mjaft mir\u00eb karakterin e tij; aktori kryesor i \u201cKrom\u201d, Fredjon Ru\u00e7i, \u00ebsht\u00eb nj\u00eb premis\u00eb e mir\u00eb e kinemas\u00eb shqiptare t\u00eb t\u00eb rinjve, Klodiana Keco n\u00eb rolin e n\u00ebn\u00ebs memece \u00ebsht\u00eb brilante, mimika e saj i thot\u00eb t\u00eb gjitha; Kas\u00ebm Hoxha n\u00eb rolin e shoferit tek \u201cDelegacioni\u201d (dy her\u00eb n\u00eb filmat e Alimanit) \u00ebsht\u00eb njeriu i thjesht\u00eb, por befasues, q\u00eb me nj\u00eb fjali- ky\u00e7 na tregon thelbin e filmit; aktorja Adel Gjoka \u00ebsht\u00eb nj\u00eb tjet\u00ebr aktore jo e njohur n\u00eb kineman\u00eb shqiptare, por q\u00eb solli nj\u00eb intepretim shum\u00eb t\u00eb ndjesh\u00ebm si bashk\u00ebprotagoniste n\u00eb filmin \u201cV\u00ebthi i munguar\u201d, krahas t\u00eb mrekullueshmes Ema Andrea q\u00eb pas shum\u00eb vitesh dedikim n\u00eb teat\u00ebr u rishfaq bindsh\u00ebm n\u00eb kinema, etj.<\/span><\/p>\n Bujar Alimani flet p\u00ebr projektet e reja filmike:<\/span><\/p>\n \u201cTani edhe nj\u00eb serial televiziv\u201d<\/span><\/p>\n Suksesi nd\u00ebrkomb\u00ebtar i filmit t\u00eb tij t\u00eb fundit, \u201cDelegacioni\u201d, solli ‘n\u00eb sht\u00ebpi’ \u00e7mime prestigjioze nd\u00ebrkomb\u00ebtare, nd\u00ebr t\u00eb cil\u00ebt m\u00eb i fundit ishte n\u00eb festivalin e Triestes, Itali. Ai u shfaq me sukses edhe n\u00eb kinemat\u00eb greke, pasi \u00ebsht\u00eb bashk\u00ebproduksion grek (gjithashtu edhe francez dhe kosovar). <\/span><\/p>\n Por Alimani nuk ndalet me kaq. Nj\u00eb nerv artistik i rrall\u00eb, p\u00ebr hir t\u00eb s\u00eb v\u00ebrtet\u00ebs, q\u00eb nj\u00eb regjisor t\u00eb punoj\u00eb n\u00eb kaq shum\u00eb projekte artistike t\u00eb nj\u00ebpasnj\u00ebshme ose edhe paralelisht. <\/span><\/p>\n Aktualisht, po punon me filmin \u201cAlbanian Virgin\u201d (Virgj\u00ebresha shqiptare). Premiera ende nuk dihet. Alimani na tregon m\u00eb shum\u00eb rreth kastit t\u00eb filmit dhe element\u00ebve t\u00eb tjer\u00eb t\u00eb realizimit t\u00eb tij: <\/span><\/p>\n \u201cSkenari \u00ebsht\u00eb shkruar nga skenaristja e njohur gjermane Katia Kittendorf dhe produksioni \u00ebsht\u00eb b\u00ebr\u00eb i mundur nga Anita Elsanin\u00ebn logon e Elsani Film. Filmi \u00ebsht\u00eb nj\u00eb bashk\u00ebprodhim mes Belgjik\u00ebs, Kosov\u00ebs dhe Shqip\u00ebris\u00eb. Aktor\u00ebt e kastit jan\u00eb: Rina Krasniqi, Jonida Vokshi, Nik Xhelilaj, Igli Zarka, Viktor Zhusti, Astrit Kabashi,Lulzim Zeqja, G\u00ebzim Rudi, Gresa Pallaska, Shkurte Sylejmani, Mimoza Ahmeti, Alban Ukaj, Aurita Agushi,Blerta Syrroi,Fatlume Bunjaku, Erjon Hodo, Ersiljano Xhelollaridhe Lum Veseli.Xhirimet e fundit do t\u00eb realizohen n\u00eb muajin shkurt, nd\u00ebrsa n\u00eb Gjermani do t\u00eb zhvillohet faza e postproduksionit.\u201d<\/em> – shprehet regjisori.<\/span><\/p>\n Nj\u00eb projekt tjet\u00ebr, p\u00ebr t\u00eb cilin ka folur shkurtimisht n\u00eb nj\u00eb intervist\u00eb t\u00eb m\u00ebparshme televizive, \u00ebsht\u00eb ai i nj\u00eb triptiku q\u00eb nis me filmin \u201cV\u00ebthi i munguar\u201d, q\u00eb kishte protagoniste aktoret Ema Andrea dhe Adel\u00eb Gjoka. <\/span><\/p>\n Dy filma t\u00eb tjer\u00eb me protagoniste po femra dhe n\u00eb pozicione konfrontuese apo bashk\u00ebpunuese, do t\u00eb na zbulohen edhe n\u00eb dy filmat e tjer\u00eb q\u00eb regjisori ka planifikuar t\u00eb realizoj\u00eb. Mbi m\u00ebnyr\u00ebn sesi jan\u00eb konceptuar, Alimani sqaron se: \u201cTriptiku \u00ebsht\u00eb i p\u00ebrb\u00ebr\u00eb nga tre skenar\u00eb t\u00eb metrazhit t\u00eb mes\u00ebm, t\u00eb cil\u00ebt n\u00eb vetevete kan\u00eb histori t\u00eb ndryshme , por i lidh, pra i b\u00ebn s\u00eb bashku, elementi i dy aktoreve n\u00eb nj\u00eb vend veprimi. <\/span><\/p>\n T\u00eb tre filmat n\u00eb total do t\u00eb mund t\u00eb b\u00ebjn\u00eb nj\u00eb 90 minut\u00ebsh n\u00eb koh\u00eb, pra sa nj\u00eb film i gjat\u00eb. \u201cV\u00ebthi i munguar\u201d \u00ebsht\u00eb i xhiruar tashm\u00eb, k\u00ebshtu q\u00eb pres v\u00ebrtet nj\u00eb koh\u00eb kur do t\u00eb mundem t\u00eb xhiroj edhe dy t\u00eb tjer\u00ebt, q\u00eb jan\u00eb \u201cMes dy Katesh\u201d dhe \u201cVodka me Limon\u201d. Edhe k\u00ebta filma q\u00ebndrojn\u00ebn\u00ebpo at\u00eb filozofi me t\u00eb cilin u krijua i pari, \u201cV\u00ebthi i munguar\u201d, pra jan\u00ebxhirime indipendente.\u201d<\/span><\/p>\n Nd\u00ebrkoh\u00eb, ai na zbulon di\u00e7ka rreth projektit t\u00eb ardhsh\u00ebm, q\u00eb do t\u00eb jet\u00eb nj\u00eb serial televiziv n\u00eb bashk\u00ebpunim me nj\u00eb kompani produksioni gjermane. Ky projekt \u00ebsht\u00eb risi p\u00ebr filmat e regjisorit, q\u00eb bashk\u00ebpunon p\u00ebr her\u00eb t\u00eb par\u00ebme kineman\u00eb gjermane. N\u00eb cil\u00ebn faz\u00eb \u00ebsht\u00eb projekti?<\/span><\/p>\n Alimani shprehet entuziast: “Jam duke negociuar detajet e n\u00ebnshkrimit t\u00eb nj\u00eb kontrate me nj\u00eb kompani serioze gjermane, p\u00ebr nj\u00eb mini series tv show q\u00eb do t\u00eb ket\u00eb 6 episode si fillim. <\/span><\/p>\n Kasta e aktor\u00ebve do t\u00eb jet\u00eb gjermane dhe shqiptare, nd\u00ebrsa xhirimet do t\u00eb vendosen kryesisht n\u00eb Gjermani dhe m\u00eb pak n\u00eb Turqi, Maqedoni t\u00eb Veriut dhe Shqip\u00ebri. Ky projekt, i cili do t\u00eb realizohet n\u00eb Gjermani,do t\u00ebvendos\u00eb stadet e para p\u00ebr nj\u00eb hapje t\u00eb m\u00ebtejshme me kompanin\u00eb e madhe nd\u00ebrkomb\u00ebtare Netflix”.<\/span><\/p>\n Duket se synimet e Bujar Alimanit jan\u00eb t\u00eb m\u00ebdha dhe ai rend drejt tyre me ritmin e tij t\u00eb shpejt\u00eb regjisorial, q\u00eb nuk d\u00ebgjon t\u00eb ndalet. <\/span><\/p>\n Ambiciet e tij, megjithat\u00eb, nuk rrjedhin nga nj\u00eb k\u00ebrkim i thjesht\u00eb p\u00ebr fam\u00eb, por, p\u00ebrkundrazi, nga nj\u00eb shpirt artisti krijues q\u00eb ka mb\u00ebrritur n\u00eb kulmin e vet.Tashm\u00eb mbetet q\u00eb gara e \u00e7mimeve Oscar t\u00eb na tregoj\u00eb,n\u00ebse filmi \u201cDelegacioni\u201d mund t\u00eb jet\u00eb shansi i art\u00eb i shqiptar\u00ebve n\u00eb aren\u00ebn e kinemas\u00eb bot\u00ebrore.<\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":" Nga\u00a0Ela Wamsler Filmi shqiptar nuk ka njohur ndonj\u00ebher\u00eb kaq shum\u00eb sukses n\u00eb skenat nd\u00ebrkomb\u00ebtare. Jo vet\u00ebm p\u00ebrzgjedhja n\u00eb kompeticione nd\u00ebrkomb\u00ebtare t\u00eb filmit \u00ebsht\u00eb e v\u00ebshtir\u00eb, por edhe vler\u00ebsimi. Mir\u00ebpo k\u00ebto dy v\u00ebshtir\u00ebsi duket sikur nj\u00eb regjisor shqiptar i kap\u00ebrcen leht\u00ebsisht. Ai \u00ebsht\u00eb Bujar Alimani. Filmat e tij \u201cAmnistia\u201d (2011), \u201cKrom\u201d (2015) dhe \u201cDelegacioni\u201d (2018) jan\u00eb […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":51,"featured_media":344656,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22,65,13],"tags":[],"class_list":["post-344655","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ballina","category-lajme","category-te-fundit"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/344655","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=344655"}],"version-history":[{"count":0,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/344655\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/344656"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=344655"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=344655"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=344655"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/hashtag.al\/wp-content\/uploads\/2019\/12\/amnistiabujaralimani1.jpg\")
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