{"id":63398,"date":"2023-11-10T17:39:40","date_gmt":"2023-11-10T17:39:40","guid":{"rendered":"https:\/\/rdnews.al\/?p=63398"},"modified":"2023-11-10T17:39:40","modified_gmt":"2023-11-10T17:39:40","slug":"wim-wenders-dhe-alain-parroni","status":"publish","type":"post","link":"https:\/\/rdnews.al\/index.php\/2023\/11\/10\/wim-wenders-dhe-alain-parroni\/","title":{"rendered":"Wim Wenders dhe Alain Parroni"},"content":{"rendered":"

Ka \u00abnj\u00eb gjenerat\u00eb t\u00eb humbur\u00bb, ka midis 16 dhe 19 vje\u00e7\u00ebve, i mbijeton bordeve t\u00eb fshatit roman, jeton \u00abnj\u00eb t\u00eb diel\u00eb t\u00eb pafundme\u00bb n\u00eb sheshin San Pietro. E rr\u00ebfejn\u00eb nj\u00eb regjisor \u2013 producent dhe nj\u00eb regjisor debutues. Kjo \u00ab\u00ebsht\u00eb nj\u00eb bot\u00eb pa t\u00eb rritur\u00bb.<\/strong><\/p>\n

\u00ab\u00c7far\u00eb ndodh n\u00ebse lind n\u00eb shkret\u00ebtir\u00ebm e nj\u00eb shoq\u00ebrie cop\u00eb cop\u00eb?\u00bb, pyet Wim Wenders. Regjisori i madh gjerman flet n\u00eb cil\u00ebsin\u00eb e producentit. Me Road Movies e tij ka bashk\u00ebprodhuar \u2013 bashk\u00eb me Domenico Procacci e Laura Paolucci (Fandango), Giorgio Gucci (Alcor) e Fabrizio Moretti (Art me picture) \u2014 metrazhin e gjat\u00eb t\u00eb par\u00eb t\u00eb 31 vje\u00e7arit Alain Parroni, n\u00eb konkurs n\u00eb seksionin Orizzonti t\u00eb Ekspozit\u00ebs s\u00eb 80 t\u00eb Cinema di Venezia (30 gusht \u2013 9 shtator) dhe n\u00eb salla nga 14 gushti: Nj\u00eb e diel\u00eb e pafundme<\/em>. Niset nga nj\u00eb mesazh vokal. Nj\u00eb shfryrje: \u00abUn\u00eb do t\u00eb doja paksa v\u00ebmendje\u00bb. Nga k\u00ebtu Parroni ka nd\u00ebrtuar historin\u00eb e tre miqve, nj\u00eb vajze dhe dy djemve. Gjithmon\u00eb t\u00eb lidhur midis tyre, n\u00eb nxhet\u00ebsin\u00eb e gushtit v\u00ebrtiten midis fshatit t\u00eb litoralit dhe qytetit t\u00eb Rom\u00ebs. Brenda \u00ebsht\u00eb shtatzan\u00eb. Alex, m\u00eb i madhi, ka mbushur 19 vje\u00e7 dhe zbulon se po b\u00ebhet baba. Kevin mbush provinc\u00ebn dhe qytetin me shkrime me emrin e tij. K\u00ebrkojn\u00eb nj\u00eb m\u00ebnyr\u00eb p\u00ebr t\u00eb l\u00ebn\u00eb nj\u00eb shenj\u00eb n\u00eb bot\u00eb. Producenti dhe regjisori paraqesin filma \u2013 q\u00eb do t\u00eb jet\u00eb edhe n\u00eb Toronto Film Festival n\u00eb seksionin Discovery\u2014 p\u00ebr \u00abla Lettura\u00bb.<\/p>\n

Si ka lindur?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014 Kam filluar t\u00eb shkruaj n\u00eb mosh\u00ebn 24 vje\u00e7are. Me mbarimin e universitetit gjendesha n\u00eb at\u00eb moment boshll\u00ebku ku nuk e dija mir\u00eb se \u00e7far\u00eb t\u00eb b\u00ebja n\u00eb jet\u00eb dhe pse t\u00eb q\u00ebndroja n\u00eb bot\u00eb. P\u00ebr fat kisha instrumentin e kinemas\u00eb s\u00eb valvul shfryrjeje. Ky film lind nga provinca, nga vendi ku jam rritur, Ardea (Rom\u00eb), dhe nga ajo q\u00eb deri n\u00eb at\u00eb mosh\u00eb m\u00eb ushqente: filma, animime, karikatura… N\u00eb vitet e m\u00ebpasme kam k\u00ebrkuar t\u00eb \u00abmos rritem\u00bb p\u00ebr t\u00eb mos e humbur k\u00ebt\u00eb pik\u00ebpamje. Kam frekuentuar vende, intervistuar djem, mbledhur imazhe… 20 vje\u00e7ar\u00ebt t\u00eb provinc\u00ebs shpesh kan\u00eb b\u00ebr\u00eb tashm\u00eb f\u00ebmij\u00eb. Pyesja veten mbi k\u00ebt\u00eb nevoj\u00eb p\u00ebr t\u2019u riprodhuar paralelisht ndaj ides\u00eb time t\u00eb nd\u00ebrtimit t\u00eb gj\u00ebrave, filma. Parimi ishte i nj\u00ebjti: l\u00ebnia e nj\u00eb gjurme, nj\u00eb d\u00ebshmi e kalimit ton\u00eb. Si\u00e7 b\u00ebjn\u00eb protagonist\u00ebt e filmave: Brenda n\u00ebp\u00ebrmjet shtatzan\u00ebsis\u00eb, Alex po k\u00ebrkon t\u2019i jap\u00eb jet\u00ebs s\u00eb tij nj\u00eb struktur\u00eb adulte, Kevin me taget… Por kur nuk ekzistojn\u00eb instrumentat drejtohemi nga instinkti dhe kjo mund t\u00eb shpaloset n\u00eb akte t\u00eb dhunshme. N\u00eb nivel emotiv nuk kemi marr\u00eb nj\u00eb ar\u00ebsimim, ajo q\u00eb dijm\u00eb shpesh vjen nga filmat. Rreziku, n\u00ebse b\u00ebjm\u00eb pyetjet e duhura, \u00ebsht\u00eb shp\u00ebrthimi.<\/p>\n

Pse titulli \u00abNj\u00eb e diel\u00eb e pafundme\u00bb?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014N\u00eb italisht dhe n\u00eb anglisht, An Endless Sunday<\/em>, ka identitete t\u00eb ndryshme. Fjala e pafundme <\/em>bart n\u00eb vet\u00ebvete nj\u00eb zem\u00ebrim dhe nj\u00eb dhun\u00eb q\u00eb nuk mund t\u00eb jepen n\u00eb gjuh\u00eb t\u00eb tjera. Bart n\u00eb vet\u00ebvete boshll\u00ebkun e gushtit, ku duket gjithmon\u00eb e diela, por edhe k\u00ebrkimin e v\u00ebmendjes. N\u00eb anglisht p\u00ebrb\u00ebhet nga kat\u00ebr fjal\u00eb, fund<\/em>, pa, diell<\/em>, dit\u00eb<\/em>, q\u00eb i b\u00ebjn\u00eb mir\u00eb imazhit t\u00eb filmit.<\/p>\n

Wenders, si e keni zbuluar Parroni?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Tek Road Movies marrim shum\u00eb emaila p\u00ebr bashk\u00ebprodhime t\u00eb mundshme. Jemi nj\u00eb shoq\u00ebri relativisht e vog\u00ebl, duhet t\u00eb b\u00ebjm\u00eb nj\u00eb p\u00ebrzgjedhje t\u00eb v\u00ebmendshme p\u00ebrpara se t\u00eb impenjohemi n\u00eb nj\u00eb projekt. Kur ka ardhur nj\u00eb email ku flitej p\u00ebr nj\u00eb film q\u00eb p\u00ebrfundonte me shum\u00eb zem\u00ebrim dhe gjak n\u00eb Sheshin San Pietro, p\u00ebrgjigja e sjellshme, por e menj\u00ebhershme, ka qen\u00eb: \u00abFaleminderit, por jo, nuk jemi t\u00eb interesuar\u00bb. N\u00eb 2018 kemi realizuar dokumentarin e drejtuar prej meje Papa Fran\u00e7esku. Nj\u00eb njeri i fjal\u00ebs<\/em>, dhe dy projektet do t\u00eb dukeshin t\u00ebhuaja n\u00eb t\u00eb nj\u00ebjtin portofol. Por m\u00eb pas d\u00ebrguesi i emailit, producenti Giorgio Gucci, ka propozuar nj\u00eb takim n\u00eb Rom\u00eb ku m\u00eb pas kan\u00eb marr\u00eb pjes\u00eb L\u00e9a Germain dhe Luca Lucchesi. Subjekti i filmit fillonte t\u00eb harmonizohej n\u00eb m\u00ebnyr\u00eb m\u00eb koherente dhe fillonim t\u00eb nuhasnim dometh\u00ebnien e sekuenc\u00ebs finale dramatike n\u00eb Sheshin San Pietro. Pabesueshm\u00ebrisht, filmi v\u00ebrtitej rreth dashuris\u00eb dhe d\u00ebshir\u00ebs p\u00ebr t\u00eb arritur, koncepte t\u00eb theksuara nga Papa.<\/p>\n

Dhe k\u00ebshtu keni vendosur ta prodhoni?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Luca Lucchesi, ndihm\u00ebsregjisori im p\u00ebr shum\u00eb filma dhe tani producent ekzekutiv, \u00ebsht\u00eb kthyer nga takimi me Adavede<\/em>, metrazh i shkurt\u00ebr i Alain i 2017, mbi d\u00ebshir\u00ebn e nj\u00eb vajze p\u00ebr t\u00eb rigjetur nj\u00eb fotografi t\u00eb humbur n\u00eb kujtes\u00ebn e celularit t\u00eb tij. Duke e shikuar kam kuptuar se Alain i shtonte ekuacionit nj\u00eb gjuh\u00eb kinematografike jasht\u00ebzakonisht personale dhe t\u00eb dallueshme. \u00abGjetja e gjuh\u00ebs t\u00ebnde\u00bb duhet t\u00eb ishte nj\u00eb objektiv themelor jo vet\u00ebm n\u00eb shkollat e kinemas\u00eb, por n\u00eb t\u00eb gjitha institucionet ar\u00ebsimore. Nj\u00eb si un\u00eb, regjisor \u2013 priducent q\u00eb ka qen\u00eb p\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb m\u00ebsues dhe profesor i Kinemas\u00eb, porovon k\u00ebnaq\u00ebsi t\u00eb pafundme kur nj\u00eb artist i ri arrin ta gjej\u00eb z\u00ebrin e tij. Kjo ndjenj\u00eb vlen sidomos sot, nga momenti q\u00eb krijimi i imazheve n\u00eb l\u00ebvizje \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb aktivitet m\u00eb shum\u00eb i p\u00ebrbashk\u00ebt p\u00ebr miliarda persona. Tentativa e Alain p\u00ebr t\u00eb gjetur nj\u00eb gjuh\u00eb unike pjes\u00eb nis nga ky kontekst: sfidet e nj\u00eb gjenerate t\u00eb mbytur nga p\u00ebrmbajtjet dixhitale platformash si YouTube, TikTok dhe Instagram \u2014 nj\u00eb gjenerat\u00eb sysh\u00eb q\u00eb shpejt do t\u00eb ken\u00eb m\u00eb shum\u00eb koh\u00eb sa p\u00ebr t\u00eb shikuar imazhet dixhitale mbi dispozitiv\u00ebt q\u00eb k\u00ebto sesa ato t\u00eb prekshmet e \u00abjet\u00ebs reale\u00bb. Alain e \u00e7on sfid\u00ebn e p\u00ebrballuar nga t\u00eb rinjt\u00eb n\u00eb nj\u00eb nivel t\u00eb m\u00ebtejsh\u00ebm, duke shfryt\u00ebzuar vet\u00eb platformat dhe instrumentat e tyre, duke i transformuar n\u00eb udh\u00ebtim potetik t\u00eb ashp\u00ebr dhe elegant. Ve\u00e7 k\u00ebsaj, jam ndjer\u00eb menj\u00ebher\u00eb komod me producent\u00ebt italian\u00eb t\u00eb filmit. Giorgio Gucci, shum\u00eb i ri dhe i apasionuar, do t\u00eb arrij\u00eb rezultate t\u00eb r\u00ebnd\u00ebsishme n\u00eb Itali dhe n\u00eb Europ\u00eb. Domenico Procacci, koleg i vler\u00ebsuar dhe producent, ka arritur t\u00eb mbes\u00eb gjithmon\u00eb i ri dhe kureshtar. N\u00eb industrin\u00eb ton\u00eb, kjo \u00ebsht\u00eb nj\u00eb bekim. P\u00ebrfshirja e tyre ka influencuar shum\u00eb vendimin tim.<\/p>\n

\u00c7far\u00eb ju p\u00eblqen m\u00eb shum\u00eb se aktiviteti i producentit?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Kam qen\u00eb gjithmon\u00eb producenti i vet\u00ebvetes. Kjo m\u00eb ka lejuar nj\u00eb liri krijuese t\u00eb pafundme, por sjell edhe p\u00ebrgjegj\u00ebsi t\u00eb m\u00ebdha. Merr shum\u00eb koh\u00eb nga krijueshm\u00ebria dhe k\u00ebrkon t\u00eb b\u00ebhesh nj\u00eb avokat apo nj\u00eb llogaritar. Si producent p\u00ebr t\u00eb tjer\u00ebt, e dua fillimin dhe fundin e procesit. E gjej nj\u00eb histori, ta zhvilloj dhe ta rris. K\u00ebrkoj q\u00eb t\u00eb rri jasht\u00eb xhirimeve, pasi besoj se regjisori (apo regjisoria) dhe ekipi i tij duhet t\u00eb ken\u00eb kontrollin e plot\u00eb t\u00eb k\u00ebsaj pjese. Do t\u00eb ndjehesha nj\u00eb i futur, por pastaj m\u00eb p\u00eblqen montazhi, disa faza t\u00eb pasprodhimit dhe natyrisht p\u00ebrzgjedhja e muzik\u00ebs: jam i lumtur q\u00eb Shiro Sagisu ka b\u00ebr\u00eb muzik\u00ebn e Nj\u00eb e diel e pafundme<\/em>. Luca dhe un\u00eb jemi v\u00ebn\u00eb n\u00eb kontakt me t\u00eb n\u00ebp\u00ebrmjet producentit japonez t\u00eb Dit\u00ebt e p\u00ebrkyera<\/em>, filmit tim t\u00eb fundit t\u00eb xhiruar n\u00eb Tokio (i paraqitur n\u00eb Kan\u00eb, do t\u00eb kaloj\u00eb n\u00eb festivalin e Torontos). Kolona zanore e t\u00eb cilit \u00ebsht\u00eb kaq e r\u00ebnd\u00ebsishme p\u00ebr dramaturgjin\u00eb e filmit!<\/p>\n

\u00c7far\u00eb ju magjeps m\u00eb shum\u00eb sesa vizioni regjisorial i Alain Parroni?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 E admiroj m\u00ebnyr\u00ebn me t\u00eb cil\u00ebn nd\u00ebrthuret mjesht\u00ebrisht shtresa dhe bot\u00eb t\u00eb ndryshme p\u00ebr t\u00eb krijuar nj\u00eb vizion unik. B\u00ebn bashk\u00eb element\u00eb q\u00eb vijn\u00eb nga shpirt\u00ebrat, nga kinemaja neorealiste, nga kultura pop, nga instagrami, nga ritualet tradicionale, nga religjoni, nga fotografia analogjike dhe deri nga TikToku. Rezultati i k\u00ebtij mozaiku \u00ebsht\u00eb i fuqish\u00ebm dhe emocionues. Ajo q\u00eb m\u00eb godet \u00ebsht\u00eb sesi Alain arrin t\u00eb kap\u00eb thelbin e mendjes s\u00eb adoleshentit n\u00eb bot\u00ebn e sotme: nj\u00eb patchwork<\/em> i privuar nga nj\u00eb hierarki e qart\u00eb preferencash. Duke marr\u00eb shtys\u00eb nga nj\u00eb film tjet\u00ebr intigrues i vitit t\u00eb kaluar (Everything Everywhere All At Once<\/em>, sh\u00ebnimi im.<\/em>) do t\u00eb mund ta p\u00ebrshkruajm\u00eb pun\u00ebn e tij si \u00abnj\u00eb t\u00eb t\u00ebr\u00eb, gjith\u00e7ka n\u00eb nj\u00eb her\u00eb\u00bb. Dhe ajo q\u00eb \u00ebsht\u00eb v\u00ebrtet origjinale \u00ebsht\u00eb se kjo nuk lidhet me kurrfar\u00eb gjykimi. Alain p\u00ebrpiqet t\u00eb ofroj\u00eb nj\u00eb portret sa m\u00eb t\u00eb mundsh\u00ebm autentik dhe t\u00eb v\u00ebrtet\u00eb t\u00eb k\u00ebsaj gjenerate t\u00eb \u00abhumbur\u00bb m\u00eb shum\u00eb sesa nj\u00eb opinion t\u00eb thjesht\u00eb lidhur me t\u00eb. Nj\u00eb urgjenc\u00eb e admirueshme, sidomos p\u00ebr nj\u00eb autor kaq t\u00eb ri.<\/p>\n

Alain Parroni<\/strong> \u2014 N\u00eb shkollat e kinemas\u00eb ndoshta t\u00eb b\u00ebjn\u00eb t\u00eb d\u00ebgjosh t\u00eb gabuar\u00ebn n\u00ebse nuk ndjek nj\u00eb gjuh\u00eb t\u00eb caktuar apo struktura narrative t\u00eb caktuara, por besoj se duhet t\u00eb m\u00ebsojn\u00eb t\u00eb jesh i vet\u00ebdijsh\u00ebm p\u00ebr gjuh\u00ebn me t\u00eb cil\u00ebn je rritur. N\u00eb bagazhin tim nuk ka vet\u00ebm shpirt\u00ebra. YouTube dhe TikTok, por edhe filma autori apo komerciale. N\u00eb themel duhet t\u00eb jet\u00eb gjithmon\u00eb k\u00ebrkimi i gjuh\u00ebs. Ta abosrbosh dhe ta sjell\u00ebsh n\u00eb bot\u00ebn ton\u00eb. I imi nuk \u00ebsht\u00eb nj\u00eb traktat mbi adoleshenc\u00ebn. Thjesht sa kam shkruar isha shum\u00eb i ri dhe kam ndjekur instinktin, i frym\u00ebzuar nga ajo q\u00eb shikoja p\u00ebrreth dhe brenda meje. T\u00eb tre protagonist\u00ebt (t\u00eb intepretuar nga debutuesit Enrico Bassetti, Zacari Delmas dhe Federica Valentini) p\u00ebrfaq\u00ebsojn\u00eb adoleshent\u00eb shum\u00eb t\u00eb ndrysh\u00ebm: Alex \u00ebsht\u00eb m\u00eb introversi, Kevin ekstroversi, Brenda \u00ebsht\u00eb m\u00eb enigmatikja. Ndoshta \u00ebsht\u00eb ajo q\u00eb i njeh m\u00eb pak emocionet: Alex e mbyt, Kevin e zgjeron, ajo nuk pyet: i jeton.<\/p>\n

Keni pasur disa zgjidhje bashk\u00eb?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014 Nuk jemi takuar personalisht, kemi pasur videothirrje dhe emaila, q\u00eb na kan\u00eb premtuar t\u00eb kemi koh\u00ebn e duhur p\u00ebr t\u00eb b\u00ebr\u00eb pyetje dhe analizuar filmin. Ardhja e Wim ka qen\u00eb thuajse magjike. N\u00eb janar, n\u00eb nj\u00eb moment ng\u00ebr\u00e7i, kam qen\u00eb n\u00eb Japoni dhe kam ndjekur itinerarin e Tokyo-Ga <\/em>(1985), filmin e tij mbi Ozu Yasujiro. Po e frekuentoja n\u00ebp\u00ebrmjet kinemas\u00eb s\u00eb tij dhe m\u00eb pas \u00ebsht\u00eb p\u00ebrfshir\u00eb n\u00eb filmin tim. Kur kam folur me t\u00eb kam pasur ndjesin\u00eb se nuk jam i vet\u00ebm, se filmi kishte kuptim.<\/p>\n

Wim Wenders<\/strong> \u2014 Un\u00eb dhe Luca kem\u00eb b\u00ebr\u00eb bashk\u00eb disa ide dhe disa inpute mbi nj\u00eb personazh q\u00eb na p\u00eblqente shum\u00eb t\u00eb gjith\u00ebve: Domenico, nj\u00eb bari i posht\u00ebr vendimtar p\u00ebr zhvillimin e Alex, nj\u00eb lloj figure at\u00ebrore. P\u00ebr rolin kemi sugjeruar aktorin gjerman Lars Rudolph. Jam v\u00ebrtet i lumtur q\u00eb Lars dhe Alain kan\u00eb gjetur nj\u00ebri tjetrin. N\u00eb pak dit\u00ebt e kaluara n\u00eb Rom\u00eb, Lars praktikisht i ka dh\u00ebn\u00eb jet\u00eb personazhit t\u00eb Domenico.<\/p>\n

N\u00eb sh\u00ebnimet e regjis\u00eb, Parroni shkruan: \u00abAlex, Brenda dhe Kevin nuk jan\u00eb gj\u00eb tjet\u00ebr ve\u00e7se \u00ebnd\u00ebrra e nj\u00eb adoleshenti t\u00eb preokupuar q\u00eb ka fjetur me smartfonin n\u00eb dor\u00eb p\u00ebrpara televizorit t\u00eb ndezur me t\u00eb gjith\u00eb volumin lart\u00bb. Zhytja n\u00eb k\u00ebt\u00eb bot\u00eb t\u00eb medias e influencon bot\u00ebn ku realizohen sot filmat?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 \u00cbsht\u00eb tani q\u00eb duhet p\u00ebrballuar problemi specifik i analfabetizmit viziv. Kur nj\u00eb i sapolindur vjen n\u00eb bot\u00eb rrethohet menj\u00ebher\u00eb, n\u00eb m\u00ebnyr\u00eb direkte dhe indirekte, nga nj\u00eb num\u00ebr i pazakont\u00eb dispozitiv\u00ebsh q\u00eb komunikojn\u00eb kryesisht n\u00ebp\u00ebrmjet imazheve m\u00eb shum\u00eb sesa fjal\u00ebve dhe shpesh prind\u00ebrit nga ana e tyre jan\u00eb t\u00eb rritur n\u00eb nj\u00eb m\u00ebnyr\u00eb t\u00eb ngjashme. \u00c7udit\u00ebrisht, askush nuk ka menduar kurr\u00eb t\u00eb jap\u00eb udh\u00ebzime apo linja drejtuese mbi si t\u00eb \u00ablexohet\u00bb praktikisht shum\u00ebfisht\u00ebsia e imazheve q\u00eb na bombardon. \u00cbsht\u00eb thelb\u00ebsisht q\u00eb shkollat t\u00eb fillojn\u00eb t\u00eb parashikojn\u00eb programe t\u00eb gjera qysh n\u00eb vitet e para p\u00ebr t\u2019u dh\u00ebn\u00eb f\u00ebmij\u00ebve dijet e nevojshme p\u00ebr t\u00eb kuptuar dhe interpretuar t\u00eb gjitha imazhet q\u00eb ndeshin p\u00ebrdit\u00eb. Vet\u00ebm k\u00ebshtu mund t\u00eb formojm\u00eb spektator\u00eb t\u00eb vet\u00ebdijsh\u00ebm dhe t\u2019u mund\u00ebsojm\u00eb autor\u00ebve t\u00eb ardhsh\u00ebm t\u00eb lundrojn\u00eb me inteligjenc\u00eb dhe p\u00ebrgjegj\u00ebsi n\u00eb mjetet e reja t\u00eb komunikimit dhe n\u00eb gjuh\u00ebt e reja audiovizive. Vet\u00ebm n\u00ebp\u00ebrmjet nj\u00eb qasjeje t\u00eb ngjashme kinemaja mund t\u00eb shpresoj\u00eb t\u2019i mbijetoj\u00eb desensibilizimit, tepris\u00eb s\u00eb sotme t\u00eb imazheve.<\/p>\n

\u00c7far\u00eb i godet gjeneratat e reja t\u00eb regjisor\u00ebve? \u00c7far\u00eb mendoni se u mungon atyre?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Jam i vet\u00ebdijsh\u00ebm se kinemaja po p\u00ebrjeton ndryshme drastike, por nj\u00ebherazi besoj se vet\u00eb p\u00ebrkufizimi i filmmaking <\/em>duhet t\u00eb evoluoj\u00eb vazhdimisht. Ndryshimi nuk implikon se di\u00e7ka po zhduket apo q\u00eb regjisor\u00ebt bashk\u00ebkohor\u00eb po b\u00ebjn\u00eb gabime. Thjesht po i p\u00ebrshtaten k\u00ebtij instrumenti t\u00eb pabesuesh\u00ebm narrative n\u00eb m\u00ebnyr\u00eb t\u00eb ndryshme, pik\u00ebrisht si un\u00eb dhe koleg\u00ebt e mi kemi b\u00ebr\u00eb si regjisor\u00eb t\u00eb rinj t\u00eb Kinemas\u00eb s\u00eb Re Gjermane kur kemi filluar karrierat tona disa vite m\u00eb par\u00eb. Sigurisht q\u00eb mjetet grafike konvencionale nuk jan\u00eb n\u00eb gjendje t\u00eb mund\u00ebsojn\u00eb nj\u00eb gjenerate t\u00eb re regjisor\u00ebsh t\u00eb p\u00ebrballojn\u00eb realitetin ton\u00eb bashk\u00ebkohor. Kinemaja nuk \u00ebsht\u00eb di\u00e7ka e p\u00ebrcaktuar nj\u00eb her\u00eb e p\u00ebrgjithmon\u00eb. P\u00ebrkundrazi, duhet t\u00eb p\u00ebrshtatet, t\u00eb evoluoj\u00eb dhe t\u00eb p\u00ebrdor\u00eb instrumenta t\u00eb rinj, p\u00ebr t\u00eb mos u b\u00ebr\u00eb nj\u00eb \u00abgjuh\u00eb e vdekur\u00bb. N\u00ebp\u00ebrmjet Wim Wenders Foundation inkurajojm\u00eb regjisor\u00eb dhe regjisore t\u00eb eksplorojn\u00eb mbret\u00ebrit\u00eb ende t\u00eb pastudiuara nga kinemaja. \u00c7do vit japim bursa studimi talenteve t\u00eb reja premtuese. Kushti \u00ebsht\u00eb q\u00eb t\u00eb k\u00ebrkojn\u00eb m\u00ebnyra novatore p\u00ebr t\u00eb shprehur vet\u00ebveten: n\u00eb dokumentar\u00eb, n\u00eb filma fiksioni, n\u00eb animim… Por edhe n\u00eb instalime apo serial\u00eb ueb.<\/p>\n

Pas \u00abA Black Jesus\u00bb t\u00eb Luca Lucchesi (2021), nga producent ktheheni t\u00eb investigoni provinc\u00ebn italiane: \u00e7far\u00eb gj\u00ebje ju magjeps m\u00eb shum\u00eb nga k\u00ebto vende?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Prodhimi i A Black Jesus <\/em>ka qen\u00eb nj\u00eb udh\u00ebtim shpagues. Kemi hyr\u00eb n\u00eb nj\u00eb realitet t\u00eb vog\u00ebl, por dometh\u00ebn\u00ebs, qytetin Siculiana n\u00eb Sicili, ku kemi kapur pik\u00ebpamjen e shoq\u00ebris\u00eb ton\u00eb europiane mbi emigracionin dhe racizmin. Ashtu si Luca, Alain i p\u00ebrket bot\u00ebs q\u00eb t\u00ebrheq. At\u00eb ka lindur dhe \u00ebsht\u00eb rritur. Ky familjaritet i garanton nj\u00eb kuptim t\u00eb thell\u00eb dhe nj\u00eb lidhje t\u00eb lindur me vendin. Jam i magjepsur nga vende t\u00eb reja kur i kam vizituar dhe paraqitur n\u00eb m\u00ebnyr\u00eb autentike. Nd\u00ebrsa provoj antipati ndaj filmave q\u00eb duken si guida turistike t\u00eb thjeshta. Duke e njohur shum\u00eb mir\u00eb Rom\u00ebn, kam ndjesin\u00eb se peizazhet rrethuese e p\u00ebrfaq\u00ebsuara nga Alain japin nj\u00eb p\u00ebrshtypje t\u00eb re. Jan\u00eb vende q\u00eb p\u00ebr nj\u00eb pjes\u00eb t\u00eb publikut europian mund t\u00eb rezultojn\u00eb nj\u00eb risi, por nj\u00ebherazi ndajn\u00eb ngjashm\u00ebri t\u00eb shumta me periferit\u00eb e qyteteve t\u00eb tjera t\u00eb m\u00ebdha si, p\u00ebr shembull, Berlini apo Parisi. Ka nj\u00eb thelb patjet\u00ebr europian q\u00eb e gjej jasht\u00ebzakonisht intrigues.<\/p>\n

Alain Parroni<\/strong> \u2014 Tregojn\u00eb provinc\u00ebn, fshatin q\u00eb shpaloset n\u00eb det, nja 40 apo 50 kilometra nga nj\u00eb qytet i madh. Nga k\u00ebtu mund t\u00eb jetoj\u00eb qyteti me nj\u00eb ndjenj\u00eb p\u00ebrkat\u00ebsie pozitive, pa e p\u00ebsuar si\u00e7 ndodh n\u00eb periferi. Ndjeheshin pjes\u00eb e k\u00ebtij identiteti historik.<\/p>\n

Pse keni vendosur ta vendosni sken\u00ebn finale n\u00eb Sheshin San Pietro?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014 Religjoni \u00ebsht\u00eb pjes\u00eb e formimit ton\u00eb dhe n\u00eb Rom\u00eb p\u00ebrfaq\u00ebson vet\u00eb qytetin. Kam dokumentuar shum\u00eb mbi f\u00ebmij\u00ebt q\u00eb kryejn\u00eb akte ekstreme, ndoshta t\u00eb pamotivuar, dometh\u00ebn\u00eb jo t\u00eb motivuar nga nj\u00eb nevoj\u00eb politike apo fetare, por emotive. Ashtu si John Hinckley q\u00eb q\u00eblloi ndaj Reagan p\u00ebr t\u00eb t\u00ebrhequr v\u00ebmendjen e Jodie Foster me t\u00eb cil\u00ebn ishte i dashuruar. Si n\u00eb shum\u00eb filma me kartona, seriale televizive dhe filma, edhe n\u00eb timen me p\u00ebrjashtimin e Domenico dhe t\u00eb gjyshes s\u00eb Brenda, nuk ka t\u00eb rritur, ama p\u00ebrfaq\u00ebsohen nga qyteti. \u00cbsht\u00eb ajo q\u00eb me edukimin e saj prodhon djemt\u00eb dhe aktin e dhunsh\u00ebm kund\u00ebr sheshit \u00ebsht\u00eb si t\u00eb vras\u00ebsh prind\u00ebrit pse nuk arrin t\u2019i jap\u00ebsh kuptim ekzistenc\u00ebs.<\/p>\n

\u00c7far\u00eb \u00ebsht\u00eb religjoni p\u00ebr protagonist\u00ebt?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014 Devocion dhe supersticion. Gjyshja e Brenda (e interpretuar nga gjyshja ime) e jeton k\u00ebshtu, midis lutjeve dhe ritualeve kund\u00ebr syrit t\u00eb keq. K\u00ebshtu e jeton edhe Brenda. N\u00ebse kultivohet n\u00eb m\u00ebnyr\u00eb t\u00eb gabuar, religjoni lidhet fuqimisht me vdekjen, me ankthin q\u00eb nuk t\u00eb le t\u00eb jetosh t\u00eb p\u00ebrditshmen (\u00abN\u00ebse nul b\u00ebn t\u00eb zotin, shkon n\u00eb ferr\u00bb). Nj\u00eb dialog midis Alex dhe Kevin n\u00eb kuptimin e jet\u00ebs zhvillohet n\u00eb nj\u00eb varrez\u00eb n\u00eb krah t\u00eb nj\u00eb kishe. Aty jan\u00eb varrosur st\u00ebrgjysh\u00ebrit e mi: m\u00eb ka kuriozuar gjithmon\u00eb, mund t\u00eb festosh pag\u00ebzimet dhe martesat, por i rrethuar nga ideja konstante se her\u00ebt a von\u00eb nuk do t\u00eb jemi m\u00eb.<\/p>\n

\u00c7far\u00eb p\u00ebrfaq\u00ebson f\u00ebmija q\u00eb Brenda pret?<\/strong><\/p>\n

Alain Parroni<\/strong> \u2014 Nevoj\u00ebn e t\u00eb kujtuarit se kemi nj\u00eb t\u00eb ardhme.<\/p>\n

\u00c7far\u00eb e b\u00ebn gjenerat\u00ebn e Brenda, Alex dhe Kevin t\u00eb \u00abhumbur\u00bb?<\/strong><\/p>\n

Wim Wenders<\/strong> \u2014 Kevin, m\u00eb energjiku dhe m\u00eb i riu i treshes, n\u00eb epilog shqipton nj\u00eb batut\u00eb t\u00eb fuqishme, q\u00eb sipas mendimit tim, thot\u00eb gjith\u00e7ka. Nuk do ta zbuloj, por ul\u00ebrima p\u00ebr ndihm\u00eb e tij nd\u00ebrsa \u00ebsht\u00eb i bllokuar n\u00eb trafikun e Grande Raccordo Anulare, i braktisur krejt\u00ebsisht n\u00eb vet\u00ebvete kur ishte vet\u00ebm 16 vje\u00e7, zbulon tragjedin\u00eb e v\u00ebrtet\u00eb t\u00eb k\u00ebtyre r\u00eb rinjve. T\u00eb humb\u00ebsh mund t\u00eb jet\u00eb pak m\u00eb shum\u00eb e durueshme n\u00ebse dikush po t\u00eb k\u00ebrkon v\u00ebrtet. Ama \u00e7far\u00eb ndodh n\u00ebse askush nuk e di ekzistenc\u00ebn t\u00ebnde, as prind\u00ebrit e tu? \u00c7far\u00eb ndodh n\u00ebse lind n\u00eb shkret\u00ebrir\u00ebn e nj\u00eb shoq\u00ebrie cop\u00eb cop\u00eb?<\/p>\n

Alain Parroni<\/strong> \u2014\u00cbsht\u00eb humbje si n\u00eb kuptimin q\u00eb nuk arrin t\u00eb gjendet, si pse \u00ebsht\u00eb e harruar nga dikush. T\u00eb tre t\u00eb rinjt\u00eb ndjejn\u00eb nevoj\u00ebn e \u00abriprodhimit\u00bb, t\u00eb l\u00ebnies s\u00eb nj\u00eb shenje p\u00ebr t\u00eb mos u harruar. Reagojn\u00eb ndaj shoq\u00ebris\u00eb n\u00eb tre m\u00ebnyra: k\u00ebrkojn\u00eb ndihm\u00eb, duket vrapuar nga prapa apo duke u mbyllur n\u00eb vet\u00ebvete.<\/p>\n

Wim Wenders<\/strong> \u2014 Por nga ndonj\u00eb pjes\u00eb n\u00eb jet\u00ebt e personazheve ka nj\u00eb t\u00eb \u00e7ar\u00eb nga cila hyn drita, si\u00e7 e k\u00ebndon Leonard Cohen: \u00abThere is a crack, a crack in everything. That\u2019s how the light gets in<\/em>\u00bb. K\u00ebto epifani dritash, k\u00ebt\u00eb akte d\u00ebshire t\u00eb nj\u00eb vendi m\u00eb t\u00eb mir\u00eb, t\u00eb nj\u00eb kuptimi m\u00eb t\u00eb madh reciprok jan\u00eb p\u00ebr mua shtyllat e filmave. Vazhdoj t\u00eb shpresoj se nj\u00eb rilindje e shk\u00eblqyer dhe e qet\u00eb mund t\u00eb dal\u00eb nga g\u00ebrmadhat e k\u00ebtyre viteve t\u00eb sh\u00ebnuara nga konflikte dhe pabarazi. Nj\u00eb kinema feniks, si t\u00eb thuash, q\u00eb p\u00ebrfaq\u00ebson pozitivitet dhe rinovim, mund t\u00eb lind\u00eb nga k\u00ebto sfida.<\/p>\n

(nga La Lettura<\/em>)<\/p>\n

P\u00ebrgatiti<\/strong><\/p>\n

ARMIN TIRANA<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Ka \u00abnj\u00eb gjenerat\u00eb t\u00eb humbur\u00bb, ka midis 16 dhe 19 vje\u00e7\u00ebve, i mbijeton bordeve t\u00eb fshatit roman, jeton \u00abnj\u00eb t\u00eb diel\u00eb t\u00eb pafundme\u00bb n\u00eb sheshin San Pietro. E rr\u00ebfejn\u00eb nj\u00eb regjisor \u2013 producent dhe nj\u00eb regjisor debutues. Kjo \u00ab\u00ebsht\u00eb nj\u00eb bot\u00eb pa t\u00eb rritur\u00bb. \u00ab\u00c7far\u00eb ndodh n\u00ebse lind n\u00eb shkret\u00ebtir\u00ebm e nj\u00eb shoq\u00ebrie cop\u00eb cop\u00eb?\u00bb, …<\/p>\n","protected":false},"author":4,"featured_media":63399,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42],"tags":[],"class_list":["post-63398","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-kulture"],"_links":{"self":[{"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/posts\/63398","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/comments?post=63398"}],"version-history":[{"count":0,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/posts\/63398\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/media\/63399"}],"wp:attachment":[{"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/media?parent=63398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/categories?post=63398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rdnews.al\/index.php\/wp-json\/wp\/v2\/tags?post=63398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}