{"id":22719,"date":"2025-02-20T19:03:33","date_gmt":"2025-02-20T18:03:33","guid":{"rendered":"https:\/\/staging.kinoteka.borkko.com\/kiril-cenevski\/"},"modified":"2025-02-25T14:02:32","modified_gmt":"2025-02-25T13:02:32","slug":"kiril-cenevski","status":"publish","type":"page","link":"https:\/\/staging.kinoteka.borkko.com\/sq\/kiril-cenevski\/","title":{"rendered":"Kiril Cenevski"},"content":{"rendered":"\t\t
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Shkarko broshur\u00ebn: Broshur\u00eb botim DVD KIRIL TSENEVSKI<\/a><\/strong><\/h5>

Stojan Sinadinov<\/strong><\/h4>

PORTRETI I KIRIL TSENEVSKI<\/strong><\/h4>

NONKONFORMIZMI NGA INCIDENTI N\u00cb VET\u00cbM\u00cbRBIM<\/strong><\/h4>
<\/strong><\/div>

Ka di\u00e7ka t\u00eb parezistueshme n\u00eb filmografin\u00eb e Kiril Cenevskit, di\u00e7ka q\u00eb e b\u00ebn vepr\u00ebn e tij filmike t\u00eb ve\u00e7ant\u00eb. \u00cbsht\u00eb p\u00ebrqendrimi i filmave dhe ngjarjeve q\u00eb i rrethojn\u00eb n\u00eb vet\u00ebm 14-15 vjet t\u00eb jet\u00ebs s\u00eb tij, nga 1971 deri n\u00eb 1985. <\/p>

Kiril Cenevski, edhe pse i lindur n\u00eb mes t\u00eb Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore (Kriva Palanka, 28 janar 1943), \u00ebsht\u00eb pjes\u00ebtar i asaj gjenerate t\u00eb artist\u00ebve dhe intelektual\u00ebve maqedonas, t\u00eb cil\u00ebt, duke ndjekur shembullin e kultur\u00ebs evropianoper\u00ebndimore, lirisht mund t’i vendosim n\u00eb t\u00eb ashtuquajturat. brezi i “baby boom”. I lindur \u201cn\u00eb koh\u00eb\u201d p\u00ebr t\u00eb ndjer\u00eb p\u00ebrfitimet e nj\u00eb lloj mir\u00ebqenieje ekonomike n\u00eb formatin e ish-Jugosllavis\u00eb socialiste t\u00eb gjysm\u00ebs s\u00eb dyt\u00eb t\u00eb viteve gjasht\u00ebdhjet\u00eb, dhe mund\u00ebsin\u00eb p\u00ebr t\u00eb d\u00ebshmuar p\u00ebrpjekjen e fundit kishotiste p\u00ebr t\u00eb ndryshuar bot\u00ebn, si\u00e7 u p\u00ebrpoq\u00ebn student\u00ebt n\u00eb vitin 1968. Sociologu francez Edgar Morin thot\u00eb n\u00eb “The Spirit of the Times” se Revolucioni parizian i vitit 1968 n\u00eb fakt rezultoi vet\u00ebm n\u00eb nj\u00eb rind\u00ebrtim t\u00eb vog\u00ebl t\u00eb arsimit t\u00eb lart\u00eb n\u00eb Franc\u00eb, por fryma e liris\u00eb q\u00eb u l\u00ebshua n\u00eb masat e t\u00eb rinjve n\u00eb Evrop\u00eb dhe Shtetet e Bashkuara nuk mund t\u00eb rikthehej m\u00eb n\u00eb shishen e konservatorizmit.<\/p>

Ndoshta pretendimi se nj\u00eb nga fytyrat e asaj fryme t\u00eb vitit 1968 n\u00eb kultur\u00ebn maqedonase \u00ebsht\u00eb Cenevski do t\u00eb ting\u00eblloj\u00eb si pretencioz, por filmografia e tij disi e v\u00ebrteton at\u00eb. Mos k\u00ebrkoni dokumente dhe fakte klasike: m\u00eb mir\u00eb besoni Bob Dylan se p\u00ebrgjigja p\u00ebr at\u00eb q\u00eb ishte fryma revolucionare – “… fryn n\u00eb er\u00eb”, si n\u00eb k\u00ebng\u00ebn e tij himnike “Blowin’ in the wind” (1963). <\/p>

Dhe pik\u00ebrisht paraqitja e Cenevskit n\u00eb kineman\u00eb maqedonase \u00ebsht\u00eb si nj\u00eb er\u00eb e fort\u00eb e pazakont\u00eb, e cila n\u00eb at\u00eb koh\u00eb pretendohej se kishte ardhur nga “askundi”. N\u00ebse qasja autodidaktike dhe pjes\u00ebmarrja n\u00eb amatorizmin filmik, pa diplom\u00ebn e shkollave t\u00eb institucionalizuara t\u00eb filmit, mund t\u00eb p\u00ebrkufizohet si hyrja n\u00eb nj\u00eb kinema komb\u00ebtare nga \u201caskundi\u201d, at\u00ebher\u00eb e gjith\u00eb \u201cvala e re\u201d franceze dhe nj\u00eb pjes\u00eb e mir\u00eb e klasikes dhe e \u201chollivudut t\u00eb ri\u201d do t\u00eb deklasoheshin q\u00eb n\u00eb fillim t\u00eb \u00e7do analize me nj\u00eb qasje t\u00eb till\u00eb. <\/p>

Nga ana tjet\u00ebr, pohimi i lartp\u00ebrmendur mb\u00ebshtetet nga disa kritika dhe jehona t\u00eb shprehura n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrmbledhur t\u00eb filmave t\u00eb Cenevskit: si\u00e7 \u00ebsht\u00eb ajo v\u00ebrejtje e qart\u00eb e vitit 1975, pas pjes\u00ebmarrjes s\u00eb JAD n\u00eb Festivalin e Pul\u00ebs, se autori, me tregimin p\u00ebr bogomil\u00ebt n\u00eb Maqedoni, po b\u00ebnte n\u00eb t\u00eb v\u00ebrtet\u00eb nj\u00eb film p\u00ebr “hipit\u00eb e shekullit t\u00eb 1”! N\u00eb fakt, Cenevskin mund ta duash apo ta urresh, por asnj\u00ebher\u00eb nuk mund t\u00eb jesh indiferent ndaj filmave dhe pik\u00ebpamjeve t\u00eb tij estetike apo politike. Por le t\u00eb shkojm\u00eb me radh\u00eb. <\/p>

\u0410\u0412\u0410\u041d\u0413\u0410\u0420\u0414\u041d\u041e\u0421\u0422\u0410 \u041d\u0410 \u0426\u0420\u041d\u041e \u0421\u0415\u041c\u0415<\/strong><\/h4>

\u201cN\u00eb vitin e shtat\u00ebdhjet\u00eb e nj\u00eb do t\u00eb shfaqet n\u00eb ekranet nj\u00eb nga arritjet m\u00eb t\u00eb r\u00ebnd\u00ebsishme filmike n\u00eb kinematografin\u00eb maqedonase n\u00eb t\u00eb gjith\u00eb historin\u00eb e saj, duke p\u00ebrfshir\u00eb edhe sot. \u00cbsht\u00eb p\u00ebrpjekja e par\u00eb, e kuror\u00ebzuar me sukses absolut, p\u00ebr t\u00eb zot\u00ebruar zhanrin e tragjedis\u00eb antike mbi materialin thuajse bashk\u00ebkohor, \u00ebsht\u00eb nj\u00eb film me stil, humor dhe asketiz\u00ebm \u00e7udit\u00ebrisht t\u00eb rrumbullakosur. Fjala \u00ebsht\u00eb p\u00ebr filmin debutues t\u00eb Kiril Cenevskit, BLACK ED (1971), i cili n\u00eb pamje t\u00eb par\u00eb duket t\u00eb jet\u00eb nj\u00eb tjet\u00ebr film p\u00ebr nj\u00eb tem\u00eb t\u00eb kampit t\u00eb p\u00ebrqendrimit, i cili ishte i njohur prej koh\u00ebsh p\u00ebr regjisorin jugosllav, dhe \u00ebsht\u00eb gjithashtu shum\u00eb i njohur p\u00ebr kineman\u00eb bot\u00ebrore, si nj\u00eb nga modelet m\u00eb t\u00eb suksesshme p\u00ebr hulumtimin e estetik\u00ebs, psikologjis\u00eb dhe gjendjes s\u00eb p\u00ebrshtatshme t\u00eb situat\u00ebs s\u00eb ekzistimit t\u00eb kufirit, ideologjis\u00eb vdekja e pashmangshme n\u00eb nj\u00eb hap\u00ebsir\u00eb \u200b\u200bt\u00eb mbyllur, mes t\u00eb burgosurve t\u00eb ngjash\u00ebm me veten e tyre, t\u00eb cil\u00ebt po p\u00ebrjetojn\u00eb t\u00eb nj\u00ebjtat mundime dhe vuajtje, t\u00eb nj\u00ebjtat konflikte t\u00eb brendshme\u201d – me k\u00ebto fjal\u00eb t\u00eb zgjedhura kritiku dhe studiuesi rus i filmit Miron Chernenko skicon shfaqjen e Cenevskit n\u00eb librin e tij \u201cFilmi maqedonas\u201d (Kinematheka e Maqedonis\u00eb, 1997, Shkup). Filmologu dhe studiuesi Miroslav \u010cepin\u00e7iq, n\u00eb librin e dyt\u00eb t\u00eb vepr\u00ebs monumentale “Filmi artistik i Maqedonis\u00eb” (Kinematheca e Maqedonis\u00eb, 1999, Shkup), duke kujtuar se “Cenevski n\u00eb koh\u00ebn e debutimit me FARA E ZEZ\u00cb ishte tashm\u00eb nj\u00eb regjisor me kultur\u00eb t\u00eb madhe kinematografike, i cili n\u00eb nj\u00eb nivel t\u00eb ri konceptual dhe teorik kishte p\u00ebrthithur forma t\u00eb hapura dhe teorike p\u00ebr t\u00eb trajtuar n\u00eb at\u00eb koh\u00eb tendencat e hapura t\u00eb filmit n\u00eb estetik\u00ebn e filmit\u201d, thot\u00eb: \u201cCenevski e trajton filmin si nj\u00eb konstante t\u00eb pandashme t\u00eb bashk\u00ebkoh\u00ebsve t\u00eb tij, si nj\u00eb motiv ekzistencial t\u00eb patjet\u00ebrsuesh\u00ebm dhe shum\u00eb dometh\u00ebn\u00ebs. Ne mund t\u00eb ndjekim q\u00ebndrueshm\u00ebrin\u00eb e vendosm\u00ebris\u00eb s\u00eb tij n\u00eb \u00e7do film t\u00eb tij. Secili nga kat\u00ebr filmat e tij t\u00eb realizuar deri m\u00eb tani \u00ebsht\u00eb nj\u00eb lloj dialogu me realitetin, por n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb me shikuesin e tij. <\/p>

\u00cbsht\u00eb nj\u00eb sulm i papritur ndaj gatishm\u00ebris\u00eb s\u00eb shikuesit dhe zakonit t\u00eb tij p\u00ebr t\u00eb par\u00eb dhe p\u00ebrjetuar ndonj\u00eb lib\u00ebr me figura celuloid t\u00eb zbehur, i cili do t’i ngadal\u00ebsoj\u00eb dhe nuk do t’i emocionoj\u00eb tep\u00ebr. Ky tipar i kultivuar prej koh\u00ebsh n\u00eb psikologjin\u00eb e shikuesit, i udh\u00ebhequr dhe i shkaktuar nga d\u00ebshira p\u00ebr arg\u00ebtim dhe arg\u00ebtim, kthehet n\u00eb habi, madje edhe n\u00eb indinjat\u00eb gjithnj\u00eb e m\u00eb intensive n\u00eb kontakt me veprat e Cenevskit\u201d (\u201cFilmi maqedonas\u201d, libri i dyt\u00eb). Shfaqja televizive e BLACK ED n\u00eb orarin programor t\u00eb Radiotelevizionit t\u00eb at\u00ebhersh\u00ebm Jugosllav (JRT) nuk kaloi pa pik\u00ebpamje t\u00eb kund\u00ebrta: disa kritik\u00eb televiziv\u00eb vun\u00eb re se JRT po shfaqte nj\u00eb film plot dhun\u00eb n\u00eb koh\u00ebn kryesore?! Filmi p\u00ebr vuajtjet e maqedonasve n\u00eb luft\u00ebn civile greke n\u00eb periudh\u00ebn 1947-1949 \u00ebsht\u00eb nj\u00eb film p\u00ebr vet\u00eb thelbin e s\u00eb keqes, k\u00ebshtu q\u00eb nuk \u00ebsht\u00eb rast\u00ebsi q\u00eb FARA E Zez\u00eb \u00ebsht\u00eb nj\u00eb film unik. <\/p>

nj\u00eb lakmus frojdian p\u00ebr t\u00eb cilin p\u00ebrfaq\u00ebsuesit dogmatik\u00eb t\u00eb pushtetit n\u00eb ish-RSFJ ishin t\u00eb kujdessh\u00ebm, sepse n\u00eb aren\u00ebn e Pulas ngjallte asociacione me Goli Otokun jo shum\u00eb t\u00eb larg\u00ebt. Nuk \u00ebsht\u00eb rast\u00ebsi q\u00eb disa jav\u00eb m\u00eb par\u00eb, p\u00ebrfaq\u00ebsues t\u00eb ngjash\u00ebm ideologjik\u00eb n\u00eb Mosk\u00eb, n\u00eb Festivalin Nd\u00ebrkomb\u00ebtar t\u00eb Filmit, ku nj\u00eb film maqedonas mori pjes\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb, shikuan BLACK SEED, nj\u00eb “version veror” i Gulag\u00ebve t\u00eb Siberis\u00eb, kampe n\u00eb t\u00eb cilat p\u00ebrfunduan m\u00eb shum\u00eb se 20 milion\u00eb qytetar\u00eb disident\u00eb t\u00eb Bashkimit Sovjetik n\u00eb periudh\u00ebn nga viti 1936 deri n\u00eb vdekjen e tyre ideologjike. Shtypi sovjetik heshti p\u00ebr pjes\u00ebmarrjen e BLACK SEED n\u00eb festivalin e Mosk\u00ebs, por kritik\u00ebt e filmit praktikisht “shpik\u00ebn” nj\u00eb \u00e7mim p\u00ebr t\u00eb shprehur q\u00ebndrimin e tyre pozitiv ndaj filmit t\u00eb Cenevskit. <\/p>

SEME ka edhe nj\u00eb dimension tjet\u00ebr, rolin pionier n\u00eb p\u00ebrdorimin e PR (marr\u00ebdh\u00ebnieve me publikun). Sot, PR \u00ebsht\u00eb nj\u00eb mjet komunikimi i kudondodhur, por \u00e7far\u00eb mund t\u00eb themi p\u00ebr zhurm\u00ebn q\u00eb u ngrit rreth BLACK SEED edhe kur filmi ishte n\u00eb faz\u00ebn e paraprodhimit? Konkretisht, Cenevski dhe drejtori artistik i “Vardar Film” Ante Popovski u takuan me kompozitorin e njohur grek Mikis Theodorakis n\u00eb Bukuresht, dhe m\u00eb pas i majti i shpallur pranoi n\u00eb parim t\u00eb shkruante muzik\u00ebn p\u00ebr filmin, por m\u00eb von\u00eb u t\u00ebrhoq (Cenevski p\u00ebrfundimisht vendosi q\u00eb filmi t\u00eb mos kishte muzik\u00eb, por vet\u00ebm zhurm\u00eb). Edhe aktorja greke Melina Mercouri u p\u00ebrgjigj me interes p\u00ebr p\u00ebrfshirjen e saj t\u00eb mundshme n\u00eb BLACK SEED, por bashk\u00ebpunimi nuk u realizua (alternativa e saj p\u00ebr rolin e vet\u00ebm fem\u00ebror ishte aktorja sllovene Manca Kosir, por Cenevski m\u00eb von\u00eb vendosi ta heq\u00eb at\u00eb rol fem\u00ebr nga skenari). Kishte edhe iden\u00eb q\u00eb filmi t\u00eb mbik\u00ebqyrej nga regjisori i famsh\u00ebm Costa Gavras (edhe ai me origjin\u00eb greke), nj\u00eb ikon\u00eb e at\u00ebhershme e filmit t\u00eb angazhuar politikisht evropian, i vendosur n\u00eb Paris, por pavar\u00ebsisht se asnj\u00ebri prej k\u00ebtyre tre emrave t\u00eb famsh\u00ebm nuk u pun\u00ebsua, BLACK SEED mori v\u00ebmendje t\u00eb pabesueshme mediatike edhe para daljes s\u00eb filmit t\u00eb par\u00eb. Lindi fama e autorit t\u00eb nj\u00eb zhanri t\u00eb ri dhe nj\u00eb filmi me estetik\u00eb avangarde. Kjo \u00ebsht\u00eb arsyeja pse premiera e Shkupit e BLACK ED m\u00eb 17 shtator 1971, tashm\u00eb e kuror\u00ebzuar me \u00e7mime n\u00eb Pula dhe Mosk\u00eb, u prit me publicitet dhe interesim t\u00eb audienc\u00ebs q\u00eb ne, p\u00ebr fat t\u00eb keq, sot nuk e shohim. Premiera u zhvillua nj\u00ebkoh\u00ebsisht, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, n\u00eb tri kinema: \u201cVardar\u201d, \u201cKultura\u201d dhe Klubi i P\u00ebrfaq\u00ebsuesve. <\/p>

PAQESHT DHE PASION<\/strong><\/h4>

Pritja aklamatore e BLACK SEED hapi t\u00eb gjitha dyert dhe burimet financiare p\u00ebr Cenevski p\u00ebr projektin e tij t\u00eb ardhsh\u00ebm filmik, JAD (1975), por pritshm\u00ebrit\u00eb e kritik\u00ebs dhe audienc\u00ebs tani jan\u00eb rritur jasht\u00ebzakonisht shum\u00eb. Historia e Cenevskit nuk do t\u00eb ishte e ve\u00e7ant\u00eb n\u00ebse maksima standarde p\u00ebr suksesin p\u00ebr aspera ad astra (p\u00ebrmes gjembave te yjet) do t\u00eb p\u00ebrmbysej n\u00eb rastin e tij, k\u00ebshtu q\u00eb mund t\u00eb lexohej – per astra ad aspera (nga yjet n\u00eb gjemba). <\/p>

JAD \u00ebsht\u00eb vet\u00ebm n\u00eb dukje nj\u00eb film me nj\u00eb tem\u00eb historike nga fundi i shekullit t\u00eb 11-t\u00eb dhe fillimi i shekullit t\u00eb 12-t\u00eb, kur, n\u00eb rr\u00ebnojat e mbret\u00ebris\u00eb s\u00eb Samuelit, popullsia sllave n\u00eb Oh\u00ebr kund\u00ebrshtoi fuqimisht sundimin bizantin dhe dogm\u00ebn e krishter\u00eb. Ajo rezistenc\u00eb u shpreh p\u00ebrmes l\u00ebvizjes bogomile. Duke v\u00ebn\u00eb n\u00eb dukje se Cenevski e mori titullin e filmit nga nj\u00eb mbishkrim i v\u00ebrtet\u00eb i t\u00eb ashtuquajturit Triod i Manastirit (triptik), i shekullit t\u00eb 12-t\u00eb, mbi t\u00eb cilin nj\u00eb artist i panjohur vizatoi fjal\u00ebt e \u00e7uditshme Paqe, Infektim, Trishtim (Paqe, Duart, Trishtim), dhe m\u00eb pas m\u00eb fal, \u00c7ernenko sheh nj\u00eb vullnet t\u00eb ri, n\u00eb t\u00eb cilin vullneti i krishter\u00eb \u00ebsht\u00eb p\u00ebrhapur n\u00eb csh Kisha Ortodokse dhe sekti Bogomil. Bogomil\u00ebt kan\u00eb nj\u00eb orientim maniheo-komunist me t\u00eb cilin kund\u00ebrshtojn\u00eb hierarkin\u00eb feudalo-klerikale n\u00ebn parullat e drejt\u00ebsis\u00eb sociale, barazis\u00eb universale dhe v\u00ebllaz\u00ebris\u00eb (“Filmi maqedonas”). Lexoni n\u00eb nj\u00eb m\u00ebnyr\u00eb pak m\u00eb t\u00eb lirshme, dhe n\u00eb rreshtat e m\u00ebparsh\u00ebm do t\u00eb njihni v\u00ebrtet “hipit\u00eb nga shekulli i 11-t\u00eb”… Kritiku i filmit dhe historiani i filmit Georgi Vasilevski n\u00eb “Enciklopedia e Filmit” (Kultura, Shkup, 2010) vler\u00ebson se “…spektakli ambicioz JAD, i cili \u00ebsht\u00eb nd\u00ebr talentet m\u00eb t\u00eb shtrenjta t\u00eb projektit t\u00eb filmit t\u00eb varur .” Ndryshe nga kritikat negative mbizot\u00ebruese t\u00eb JAD-it, \u00c7epin\u00e7iq, nga ana tjet\u00ebr, vler\u00ebsoi se filmi edhe si projekt edhe si realizim mban pozit\u00eb t\u00eb ve\u00e7ant\u00eb n\u00eb korniz\u00ebn dhe mund\u00ebsit\u00eb e produksionit artistik maqedonas n\u00eb at\u00eb koh\u00eb. \u201cKriteret kryesisht diskursive me t\u00eb cilat u mir\u00ebprit dhe u vler\u00ebsua ky film n\u00eb momentin e daljes s\u00eb tij duket se kan\u00eb mbetur pa ndonj\u00eb argumentim real p\u00ebr sa i p\u00ebrket potencialeve estetike q\u00eb p\u00ebrmban filmi dhe n\u00eb vende-vende i realizon me forc\u00ebn e nj\u00eb vepre me p\u00ebrvoj\u00eb klasike\u201d (\u201cFilmi artistik maqedonas \u2013 Libri i dyt\u00eb\u201d). <\/p>

VITET Plumb<\/strong><\/h4>

A \u00ebsht\u00eb rast\u00ebsi q\u00eb projekti i radh\u00ebs i Cenevskit titullohet BRIGADA KRYESORE (1980)? Nuk \u00ebsht\u00eb aspak rast\u00ebsi, sepse kushdo q\u00eb \u00ebsht\u00eb miq\u00ebsuar qoft\u00eb edhe pak me Cenevskin, e di mir\u00eb se ky autor ka qen\u00eb gjithmon\u00eb kureshtar p\u00ebr turbullirat globale estetike, por edhe politiko-ideologjike n\u00eb bot\u00eb. Vitet 1980 jan\u00eb sh\u00ebnuar shpesh si kulmi i “koh\u00ebve t\u00eb plumbit”, ve\u00e7an\u00ebrisht n\u00eb Evrop\u00eb, m\u00eb pas e ndar\u00eb n\u00eb blloqe dhe e ndar\u00eb mes komunizmit q\u00eb nuk arriti t\u00eb jap\u00eb rezultatet e premtuara dhe vrullin e neoliberalizmit. Dhe Cenevski, ai bashk\u00ebbiseduesi i arsimuar dhe fisnik p\u00ebr t\u00eb gjitha temat e mundshme n\u00eb tavolinat e kafeneve \u2013 variantet e at\u00ebhershme alternative t\u00eb parlamentarizmit n\u00eb vendin ton\u00eb \u2013 rrall\u00eb dilte n\u00eb ato sheshe pa nj\u00eb rrotull gazetash dhe revistash politike p\u00ebrkat\u00ebse n\u00ebn krah. N\u00eb rastin m\u00eb t\u00eb keq, t\u00eb pakt\u00ebn me t\u00eb p\u00ebrjavshmen kryesore n\u00eb bot\u00eb, “Time” me baz\u00eb n\u00eb Nju Jork. BRIGADA PODHORE, ndryshe nga korniza e historis\u00eb m\u00eb t\u00eb larg\u00ebt ose m\u00eb t\u00eb af\u00ebrt n\u00eb dy filmat e m\u00ebparsh\u00ebm, dhe ai i ardhsh\u00ebm, KNOT, ka nj\u00eb tem\u00eb (at\u00ebher\u00eb) aktuale p\u00ebr situatat e konfliktit t\u00eb minator\u00ebve dhe kushtet n\u00eb t\u00eb cilat ata jetojn\u00eb. Shumica e kritik\u00ebve pyet\u00ebn veten pse nj\u00eb nga regjisor\u00ebt m\u00eb t\u00eb talentuar maqedonas t\u00eb koh\u00ebs s\u00eb tij mori nj\u00eb “film prodhimi” q\u00eb i p\u00ebrkiste faz\u00ebs s\u00eb v\u00ebshtir\u00eb t\u00eb realizmit socialist nga vitet 1950, ose pse ai nuk b\u00ebri t\u00eb pakt\u00ebn nj\u00eb “p\u00ebrdredhje” dramatike t\u00eb ideologjis\u00eb socialiste n\u00eb film, gj\u00eb q\u00eb do ta vendoste LEAD BRIGADE n\u00eb t\u00eb nj\u00ebjt\u00ebn lig\u00eb me vler\u00ebsimin e Andrzej BRIGAD. Filmi Maqedonas”). \u201cVet\u00ebmenaxhimi i pun\u00ebtor\u00ebve, i pashpjeguesh\u00ebm n\u00eb vetvete, Cenevski k\u00ebrkon ende t\u2019ia n\u00ebnshtroj\u00eb nj\u00eb analize dramaturgjike… d\u00ebshiron t\u00eb sqaroj\u00eb nj\u00eb trillim, t\u00eb pakuptuesh\u00ebm n\u00eb vetvete, q\u00eb n\u00eb at\u00eb p\u00ebrpjekje t\u00eb gjendet si n\u00eb rolin e Sizifit\u201d. “Ngjash\u00ebm me heroin e tij Llazarin, i cili, duke thirrur nj\u00eb vet\u00eb-administrim t\u00eb till\u00eb t\u00eb pun\u00ebtor\u00ebve, d\u00ebshiron t\u00eb rivitalizoj\u00eb minier\u00ebn e l\u00ebn\u00eb pas dore, duke hequr pun\u00ebtor\u00ebt e k\u00ebqij, duke kritikuar menaxhimin e uzin\u00ebs dhe duke mb\u00ebshtetur t\u00eb dob\u00ebtit dhe t\u00eb zhg\u00ebnjyer nga ajo atmosfer\u00eb pak pesimiste” – \u00c7epin\u00e7iq ka m\u00eb shum\u00eb kuptim p\u00ebr q\u00ebllimet e Cenevskit (“Filmi maqedonas). <\/p>

NDARJE OSE NYJE E RE<\/strong><\/h4>

Duket se hija e suksesit t\u00eb BLACK SEED nuk e \u00e7liroi kurr\u00eb Cenevskin nga ng\u00ebr\u00e7i krijues dhe pritshm\u00ebrit\u00eb vazhdimisht t\u00eb larta t\u00eb kritik\u00ebs dhe audienc\u00ebs. KNOT (1985) \u00ebsht\u00eb nj\u00eb film me nj\u00eb histori psikologjike nga Lufta e Dyt\u00eb Bot\u00ebrore, konkretisht pushtimi fashist i Maqedonis\u00eb dhe d\u00ebbimi i hebrenjve n\u00eb kampet e vdekjes, ku nd\u00ebrthuren fatet e viktimave dhe xhelat\u00ebve. Kritik\u00ebt pan\u00eb n\u00eb NODE linja dramaturgjike tep\u00ebr t\u00eb nd\u00ebrlikuara, t\u00eb mjaftueshme p\u00ebr disa filma. Ndoshta ka t\u00eb drejt\u00eb Chernenko kur thekson se diku n\u00eb n\u00ebnvet\u00ebdijen e autor\u00ebve n\u00eb kinema t\u00eb vogla, me financa t\u00eb kufizuara, \u00e7do film i m\u00ebpassh\u00ebm u duket si \u201ci fundit p\u00ebr nj\u00eb periudh\u00eb t\u00eb pacaktuar\u201d, ndaj ngulitin n\u00eb to t\u00eb gjitha idet\u00eb q\u00eb kan\u00eb. Parimi optimist, gazmor dhe frytdh\u00ebn\u00ebs i carpe diem kundrejt atij melankolik, madje disfatist tani dhe kushedi kur. Merreni me mend se cili parim fitoi n\u00eb rastin Cenevski… <\/p>

FUND PA FUND<\/strong><\/h4>

N\u00ebse Cenevski erdhi n\u00eb kineman\u00eb maqedonase nga “askundi”, edhe fundi i karrier\u00ebs s\u00eb tij disi p\u00ebrfundoi – “askundi”. Me fjal\u00eb t\u00eb tjera, edhe pse ajo karrier\u00eb nuk p\u00ebrfundoi kurr\u00eb zyrtarisht, Cenevski u zhduk nga filmi maqedonas m\u00eb shum\u00eb se tre dekada m\u00eb par\u00eb. Nga ana tjet\u00ebr, autori q\u00eb u mir\u00ebprit si nj\u00eb tifoz i tmerrsh\u00ebm i kinematografis\u00eb maqedonase dhe u lavd\u00ebrua n\u00eb \u00e7ast thuajse si mesia shum\u00eb i d\u00ebshiruar i epok\u00ebs s\u00eb re, i dha fund karrier\u00ebs s\u00eb tij regjisoriale n\u00eb mosh\u00ebn 42-vje\u00e7are. Kjo \u00ebsht\u00eb mosha e nj\u00ebjt\u00eb ose e ngjashme n\u00eb t\u00eb cil\u00ebn autor\u00eb t\u00eb tjer\u00eb regjistruan veprat e tyre debutuese; N\u00eb t\u00eb dyja rastet, \u00ebsht\u00eb e nj\u00ebjta, ose nj\u00eb padrejt\u00ebsi e ngjashme. \u201cN\u00eb situat\u00ebn aktuale sikur s\u2019kam terren t\u00eb drejtoj dialogun p\u00ebr artin, p\u00ebr t\u00eb ardhmen, gjith\u00e7ka \u00ebsht\u00eb e politizuar\u201d. \u00cbsht\u00eb zhvendosur t\u00ebr\u00ebsisht sistemi i kredencialeve, e bashk\u00eb me t\u00eb edhe sistemi i vlerave…\u201d, ka th\u00ebn\u00eb Cenevski n\u00eb intervist\u00ebn e fundit q\u00eb ka dh\u00ebn\u00eb p\u00ebr mediat, p\u00ebr revist\u00ebn \u201cForum\u201d n\u00eb vitin 2002 (cituar n\u00eb librin \u201cFaceria\u201d t\u00eb Vlatko Galevskit, \u201cForum\u201d, Shkup, 2004). Sinonimi i par\u00eb q\u00eb doja t\u00eb p\u00ebrdorja p\u00ebr t\u00eb p\u00ebrshkruar Kiril Cenevskin ishte Steppenwolf, n\u00eb frym\u00ebn e romanit me t\u00eb nj\u00ebjtin em\u00ebr t\u00eb Hermann Hesse. Por ndoshta nj\u00eb fjal\u00eb m\u00eb e sakt\u00eb do t\u00eb ishte Bogomil, nj\u00eb besimtar i krishter\u00eb pa kish\u00eb. Besimi i kineastit \u00ebsht\u00eb i padiskutuesh\u00ebm, i diskutuesh\u00ebm \u00ebsht\u00eb sistemi \u2013 ekonomik, politik, social, kulturor \u2013 n\u00eb t\u00eb cilin ai duhet t\u00eb prezantoj\u00eb veprat e tij kinestetike. Di\u00e7ka e ngjashme me “kumbarin e ish-rock and roll-it amerikan” Branimir Joni \u0160tuli\u0107, udh\u00ebheq\u00ebsi dhe shpirti i grupit t\u00eb Zagrebit “Azra”. Nuk \u00ebsht\u00eb rast\u00ebsi q\u00eb Cenevski, ashtu si edhe Shtuliqi, ishte i rrethuar nga vet\u00eb internimi i tij me heshtje superiore si nj\u00eb lloj mburoje. Dhe k\u00ebshtu me radh\u00eb p\u00ebr m\u00eb shum\u00eb se 30 vjet. Pse? “P\u00ebrgjigja, miku im, po fryn n\u00eb er\u00eb…” k\u00ebndoi Dylan. <\/p>

N\u00ebse dikush ka nj\u00eb p\u00ebrgjigje m\u00eb t\u00eb mir\u00eb, ju lutemi ta thot\u00eb!<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Shkarko broshur\u00ebn: Broshur\u00eb botim DVD KIRIL TSENEVSKI Stojan Sinadinov PORTRETI I KIRIL TSENEVSKI NONKONFORMIZMI NGA INCIDENTI N\u00cb VET\u00cbM\u00cbRBIM Ka di\u00e7ka t\u00eb parezistueshme n\u00eb filmografin\u00eb e Kiril Cenevskit, di\u00e7ka q\u00eb e b\u00ebn vepr\u00ebn e tij filmike t\u00eb ve\u00e7ant\u00eb. \u00cbsht\u00eb p\u00ebrqendrimi i filmave dhe ngjarjeve q\u00eb i rrethojn\u00eb n\u00eb vet\u00ebm 14-15 vjet t\u00eb jet\u00ebs s\u00eb tij, nga […]<\/p>\n","protected":false},"author":7,"featured_media":2691,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-22719","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nKiril Cenevski - \u041a\u0438\u043d\u043e\u0442\u0435\u043a\u0430 \u043d\u0430 \u041c\u0430\u043a\u0435\u0434\u043e\u043d\u0438\u0458\u0430<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/staging.kinoteka.borkko.com\/sq\/kiril-cenevski\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Kiril Cenevski - 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