{"id":73799,"date":"2026-01-26T07:21:38","date_gmt":"2026-01-26T06:21:38","guid":{"rendered":"https:\/\/a-desk.org\/?p=73799"},"modified":"2026-01-28T14:08:16","modified_gmt":"2026-01-28T13:08:16","slug":"balkan-kinoscope","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/balkan-kinoscope\/","title":{"rendered":"Observatori cinematogr\u00e0fic dels Balcans"},"content":{"rendered":"<p>La hist\u00f2ria del cinema balc\u00e0nic, com a part integrant de la hist\u00f2ria del sud-est europeu, est\u00e0 profundament travessada pel g\u00e8nere, marcada pel silenci, l\u2019exclusi\u00f3 sistem\u00e0tica i la construcci\u00f3 de relats impulsats pel poder. Es tracta menys de la hist\u00f2ria d\u2019all\u00f2 que s\u2019explica que de qui est\u00e0 autoritzat a explicar-la. Els Balcans, situats en un espai geopol\u00edtic permanentment disputat, han vist com la producci\u00f3 cinematogr\u00e0fica a la regi\u00f3 evolucionava entre r\u00e8gims autoritaris canviants, marcs ideol\u00f2gics dominants, guerres i una inestabilitat persistent.<\/p>\n<p data-start=\"813\" data-end=\"1336\">Les cineastes continuen exercint un paper central en la configuraci\u00f3 tant dels relats hist\u00f2rics com de la pr\u00e0ctica cinematogr\u00e0fica i la mem\u00f2ria col\u00b7lectiva, fins i tot quan la seva autoria i el seu treball segueixen en gran mesura exclosos de les hist\u00f2ries can\u00f2niques i del reconeixement institucional. La seva tasca busca recuperar l\u2019espai cinematogr\u00e0fic no nom\u00e9s com a instrument de veritat hist\u00f2rica, sin\u00f3 com a mitj\u00e0 d\u2019experi\u00e8ncia encarnada que desafia els relats hegem\u00f2nics i fomenta la reflexi\u00f3 i el comprom\u00eds cr\u00edtic.<\/p>\n<p data-start=\"1338\" data-end=\"2348\">La cineasta albanokosovar <a href=\"https:\/\/a-desk.org\/en\/magazine\/kosovos-female-filmmakers\/\" target=\"_blank\" rel=\"noopener\"><strong>Blerta Basholli<\/strong><\/a> exemplifica aquesta operaci\u00f3 a la seva pel\u00b7l\u00edcula <strong><em data-start=\"1430\" data-end=\"1437\">Zgjoi<\/em> (<em data-start=\"1439\" data-end=\"1445\">Rusc<\/em>)<\/strong> (2021), que va tornar a situar Kosovo en el focus internacional en ser preseleccionada als Oscar entre les quinze pel\u00b7l\u00edcules candidates a Millor Llargmetratge Internacional anunciades a finals de 2021; una fita que seguia una altra anterior, quan el curtmetratge <strong><em data-start=\"1711\" data-end=\"1717\">Shok<\/em><\/strong> (2015), dirigit per <strong>Jamie Donoughue<\/strong>, va ser nominat als Oscar. Basholli situa les conseq\u00fc\u00e8ncies de la guerra de Kosovo de 1999 dins d\u2019un marc de g\u00e8nere, explorant com les v\u00eddues com Fahrije Hoti (Yllka Gashi), protagonista del film, negocien la seva superviv\u00e8ncia econ\u00f2mica i social en un context de normes patriarcals i institucions de postconflicte fr\u00e0gils. En posar en primer pla el treball corporal i l\u2019ag\u00e8ncia col\u00b7lectiva, <em data-start=\"2146\" data-end=\"2153\">Zgjoi<\/em> reconceptualitza la mem\u00f2ria pol\u00edtica com a experi\u00e8ncia viscuda, revelant la centralitat dels intents de les dones per participar en la reconstrucci\u00f3 de la postguerra i en la formaci\u00f3 de l\u2019Estat.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/39cIMHLPFMU?si=z6Fl6cf_UPQ7BhuQ\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>De manera similar, la directora i guionista bosniana <strong>Jasmila \u017dbani\u0107<\/strong> interroga les dimensions de g\u00e8nere del conflicte a la seva pel\u00b7l\u00edcula <strong><em data-start=\"2488\" data-end=\"2506\">Quo Vadis, Aida?<\/em><\/strong> (2020), que tamb\u00e9 va ser nominada a l\u2019Oscar a Millor Pel\u00b7l\u00edcula Internacional. El film reconstrueix els esdeveniments succe\u00efts el juliol de 1995 que van culminar en la massacre i el genocidi de Srebrenica des de la perspectiva d\u2019Aida Selmanagi\u0107 (Jasna \u0110uri\u010di\u0107), una traductora de l\u2019ONU la posici\u00f3 de la qual exposa la guerra com un joc fatal impulsat per homes, les conseq\u00fc\u00e8ncies del qual recauen sobre les dones, obligades a gestionar-les i suportar-les. En centrar l\u2019experi\u00e8ncia d\u2019Aida, \u017dbani\u0107 transforma l\u2019atrocitat hist\u00f2rica en un espai per examinar la intersecci\u00f3 entre viol\u00e8ncia pol\u00edtica, treball de g\u00e8nere i la lluita per sobreviure amb dignitat. La pel\u00b7l\u00edcula mostra com les dones s\u00f3n responsabilitzades d\u2019absorbir les c\u00e0rregues estructurals enmig de la cat\u00e0strofe pol\u00edtica, mentre queden excloses dels relats autoritzats.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/czOkhjRpuds?si=I4tBU7QzWi8VsqUy\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>\u017dbani\u0107 ja havia explorat aquests temes al seu llargmetratge <strong><em data-start=\"3399\" data-end=\"3409\">Grbavica<\/em><\/strong> (2006) a trav\u00e9s dels personatges d\u2019Esma i Sara, fent aflorar hist\u00f2ries enterrades per la vergonya patriarcal i l\u2019opressi\u00f3 institucional, com l\u2019\u00fas de la violaci\u00f3 com a arma de guerra i els fills nascuts de la viol\u00e8ncia sexual a B\u00f2snia i Hercegovina durant la d\u00e8cada de 1990. Metodol\u00f2gicament, \u017dbani\u0107, igual que Basholli, articula una historiografia feminista a trav\u00e9s de la ficci\u00f3, exposant simult\u00e0niament estructures de viol\u00e8ncia que s\u2019estenen m\u00e9s enll\u00e0 de la guerra i reconstruint la hist\u00f2ria com una experi\u00e8ncia relacional i viscuda. El cinema esdev\u00e9 aix\u00ed tant mitj\u00e0 com espai d\u2019intervenci\u00f3 feminista, on la mem\u00f2ria s\u2019expandeix i se sotmet a una interrogaci\u00f3 cr\u00edtica.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KWPg6-frFEo?si=oeYosGzRi3DQ7ZQN\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Cal assenyalar que aquests enfocaments de g\u00e8nere no cauen en el parany de reproduir simplement l\u2019heteronormativitat. El cinema feminista contemporani als Balcans amplia el seu camp m\u00e9s enll\u00e0 dels relats tradicionals, adoptant una obertura i una diversitat d\u2019experi\u00e8ncies que durant molt de temps han estat silenciades o considerades prohibides. Aix\u00f2 s\u2019articula de manera clara a <strong><em data-start=\"4460\" data-end=\"4469\">Martesa<\/em> (<em data-start=\"4471\" data-end=\"4482\">Matrimoni<\/em>)<\/strong> (2017), de <strong>Blerta Zeqiri<\/strong>, on la dissoluci\u00f3 de Iugosl\u00e0via i l\u2019experi\u00e8ncia kosovoalbanesa es deconstrueixen a trav\u00e9s de la hist\u00f2ria d\u2019amor entre els seus dos protagonistes masculins, Bekim (Alban Ukaj) i Noli (Genc Salihu).<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/MibP97mBsGQ?si=xPnXUxjP3Ml-7R_Q\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Zeqiri no nom\u00e9s q\u00fcestiona els sup\u00f2sits culturals dominants sobre g\u00e8nere i sexualitat, sin\u00f3 que tamb\u00e9 situa les narratives personals dins d\u2019hist\u00f2ries sociopol\u00edtiques m\u00e9s \u00e0mplies, demostrant que el cinema feminista regional pot confrontar l\u2019opressi\u00f3 estructural alhora que articula les m\u00faltiples \u2014i sovint ignorades\u2014 experi\u00e8ncies inscrites en esdeveniments hist\u00f2rics concrets. No obstant aix\u00f2, mentre Zeqiri amplia la mirada feminista per incloure sexualitats marginades, altres cineastes de la regi\u00f3, compartint preocupacions metodol\u00f2giques similars, es desplacen d\u2019una historiografia ficcional i inclusiva del queer cap al documental i la posada en escena arxiv\u00edstica.<\/p>\n<p>La cineasta s\u00e8rbia <strong>Marta Popivoda<\/strong>, al seu documental <strong><em data-start=\"5430\" data-end=\"5473\">Yugoslavia: How Ideology Moved Our Bodies<\/em><\/strong> (2013), subratlla que \u00abla mem\u00f2ria mai no \u00e9s un instrument per examinar el passat. \u00c9s un instrument per examinar el teatre del passat\u00bb, assenyalant un comprom\u00eds metodol\u00f2gic compartit: la discrep\u00e0ncia entre la hist\u00f2ria oficial, constru\u00efda ideol\u00f2gicament, i les realitats de qui la va viure. La cineasta albanesa <strong>Ermela Teli<\/strong> adopta un enfocament similar al seu documental <strong><em data-start=\"5843\" data-end=\"5887\">In the Socialist Paradise (It Never Rains)<\/em><\/strong> (2025), on examina la tensi\u00f3 entre la ideologia p\u00fablica i la vida privada a l\u2019Alb\u00e0nia comunista. Ambd\u00f3s documentals es construeixen a partir de material d\u2019arxiu pr\u00e8viament in\u00e8dit i s\u2019organitzen entorn de ruptures temporals. Popivoda estructura la seva pel\u00b7l\u00edcula en quatre per\u00edodes clau \u2014els anys quaranta, seixanta, vuitanta i la violenta dissoluci\u00f3 iugoslava des de finals dels noranta fins a principis dels dos mil\u2014, mentre que l\u2019an\u00e0lisi de Teli se centra a Alb\u00e0nia des dels anys seixanta fins als vuitanta, tra\u00e7ant cr\u00edticament l\u2019evoluci\u00f3 del control ideol\u00f2gic i el seu impacte en la vida quotidiana.<\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/KAyvNYshOng?si=G5UKgg88GGDZ2Pnl\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>\u00abVolia fer una pel\u00b7l\u00edcula sobre la relaci\u00f3 contradict\u00f2ria de l\u2019\u00e9sser hum\u00e0 amb la ideologia\u00bb, <a href=\"https:\/\/kosovotwopointzero.com\/en\/ermela-telis-documentary-as-a-cathartic-process-of-memory\" target=\"_blank\" rel=\"noopener\">afirma<\/a>\u00a0Teli a l\u2019inici del seu film, \u00absobre com, en un sistema autocr\u00e0tic, l\u2019individu es veu obligat a convertir-se en una altra persona per sobreviure\u00bb. Ambdues prioritzen la comprensi\u00f3 per damunt de la resoluci\u00f3. \u00abLa hist\u00f2ria dona una resposta clara, per\u00f2 jo no\u00bb, reflexiona Popivoda. \u00abJo faig preguntes\u00bb. El seu treball articula una cr\u00edtica performativa de la ideologia i de l\u2019autoritat de l\u2019arxiu, contraposant els espectacles de l\u2019Estat amb l\u2019experi\u00e8ncia viscuda per examinar com els ideals d\u2019unitat col\u00b7lectiva i germanor van degenerar en un espectacle d\u2019horror sense precedents a Europa des de la Segona Guerra Mundial. Aquesta espectacularitzaci\u00f3 de la realitat a trav\u00e9s del cinema i la propaganda estatal \u2014utilitzant la terminologia de Guy Debord\u2014 \u00e9s precisament all\u00f2 que Popivoda i Teli desmunten, no com un gest performatiu de just\u00edcia hist\u00f2rica, sin\u00f3 com una manera de recuperar la capacitat de comprendre la realitat i l\u2019experi\u00e8ncia aut\u00e8ntica pr\u00f2pia dins d\u2019ella. D\u2019aquesta manera, la mem\u00f2ria s\u2019allibera dels marcs ideol\u00f2gics totalitaris i propagand\u00edstics, permetent la restituci\u00f3 de la humanitat i la dignitat.<\/p>\n<div id=\"attachment_73785\" style=\"width: 910px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-73785\" decoding=\"async\" class=\"wp-image-73785 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Balkan-Kinoscope-IN-SOCIALIST-PARADISE-IT-NEVER-RAINS-14.jpg\" alt=\"Balkan Kinoscope, fotograma IN-SOCIALIST-PARADISE-IT-NEVER-RAINS\" width=\"900\" height=\"506\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Balkan-Kinoscope-IN-SOCIALIST-PARADISE-IT-NEVER-RAINS-14.jpg 900w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Balkan-Kinoscope-IN-SOCIALIST-PARADISE-IT-NEVER-RAINS-14-595x335.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Balkan-Kinoscope-IN-SOCIALIST-PARADISE-IT-NEVER-RAINS-14-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\" \/><p id=\"caption-attachment-73785\" class=\"wp-caption-text\">Fotograma del documental <em data-start=\"7815\" data-end=\"7859\">In the Socialist Paradise (It Never Rains)<\/em>, 2025, Ermela Teli<\/p><\/div>\n<p>En una regi\u00f3 encara marcada pel nacionalisme, el control ideol\u00f2gic i la disputa sobre la mem\u00f2ria, el treball de <strong>Basholli, \u017dbani\u0107, Popivoda <\/strong>i<strong> Teli<\/strong> demostra com el cinema pot crear espais inclusius per al q\u00fcestionament i el di\u00e0leg all\u00e0 on la hist\u00f2ria i els r\u00e8gims autoritaris han intentat imposar el silenci o la distorsi\u00f3. M\u00e9s enll\u00e0 d\u2019aix\u00f2, constitueix un testimoni del treball feminista i de la recuperaci\u00f3 d\u2019espais hist\u00f2ricament estructurats per excloure les dones, fent visibles experi\u00e8ncies a les quals se\u2019ls va negar l\u2019autoritat per ser narrades.<\/p>\n<p data-start=\"8433\" data-end=\"9310\">Tanmateix, malgrat que les seves pel\u00b7l\u00edcules entaulen un di\u00e0leg que situa les hist\u00f2ries locals dins d\u2019un context balc\u00e0nic m\u00e9s ampli, aquestes cineastes continuen estant marginades dels circuits transnacionals de producci\u00f3 i de la recerca acad\u00e8mica, com a conseq\u00fc\u00e8ncia de divisions nacionalistes arrelades, hist\u00f2ries no resoltes, formes de governan\u00e7a semiautorit\u00e0ries i mecanismes institucionals de control que tamb\u00e9 afecten la ind\u00fastria cinematogr\u00e0fica. <strong>Aix\u00ed, l\u2019art \u2014i en particular la creaci\u00f3 art\u00edstica feminista\u2014 obre vies per desmantellar estructures invisibles que, d\u2019altra manera, romandrien intactes, mobilitzant temes i metodologies compartides impulsades per una demanda de tancament hist\u00f2ric a trav\u00e9s de la just\u00edcia, la dignitat i la llibertat. El cinema balc\u00e0nic contemporani pot entendre\u2019s, per tant, com un cinema de lluita pol\u00edtica tant com d\u2019imaginaci\u00f3 art\u00edstica.<\/strong><\/p>\n<p data-start=\"9312\" data-end=\"9397\">(Imatge de portada: Fotograma del film <em>Quo Vadis, Aida?<\/em>, 2020, de Jasmila \u017dbani\u0107)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La hist\u00f2ria del cinema balc\u00e0nic, com a part integrant de la hist\u00f2ria del sud-est europeu, est\u00e0 profundament travessada pel g\u00e8nere, marcada pel silenci, l\u2019exclusi\u00f3 sistem\u00e0tica i la construcci\u00f3 de relats&#8230;<\/p>\n","protected":false},"author":2968,"featured_media":73795,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[7118],"tags":[7179,7180,7148,7151],"coauthors":[7174],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Observatori cinematogr\u00e0fic: Ponts entre passat i present<\/title>\n<meta name=\"description\" content=\"Observatori cinematogr\u00e0fic: Ponts entre passat i present a trav\u00e9s d\u2019una mirada recuperada per Gresa Hasa. 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