{"id":73531,"date":"2026-01-12T07:02:43","date_gmt":"2026-01-12T06:02:43","guid":{"rendered":"https:\/\/a-desk.org\/?p=73531"},"modified":"2026-01-10T18:28:35","modified_gmt":"2026-01-10T17:28:35","slug":"antoneta-kastrati-kaltrina-krasniqi","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/antoneta-kastrati-kaltrina-krasniqi\/","title":{"rendered":"Between Anger and Tenderness"},"content":{"rendered":"

For decades, Kosovar cinema \u2014like much of world cinema\u2014 was largely shaped by the male gaze: men\u2019s experiences, bodies, versions of history. Women existed in those films, but often as symbols, stereotypes or moral figures. The two filmmakers in this conversation came of age amid that absence\u2014and chose to expand what cinema can hold. They sit together not to explain their work, but to think through it \u2014its anger, tenderness, memory, and its quiet insistence on presence.<\/p>\n

In Zana<\/em><\/strong>, Antoneta Kastrati<\/strong> follows a woman pressured to \u201cheal\u201d infertility while still carrying unprocessed wartime trauma \u2014where absence takes the form of wounds the body remembers even when language fails. In Vera Dreams of the Sea<\/em><\/strong>, Kaltrina Krasniqi<\/strong> follows a woman who negotiates grief and a patriarchal logic \u2014where absence reveals itself as the space imposed on women by law, family and memory. Both films emerge from Kosovo\u2019s recent history, where war, transition, and patriarchal continuity shape how memory is carried in bodies, families, and public life.<\/p>\n

Longtime friends, they speak here about anger and empathy, visibility and erasure, and about film as a place where grief, bodies, and intergenerational conversations can finally be witnessed, preserved and carried.<\/p>\n

\"\"

Filmstill from Zana<\/em> (2019) de Antoneta Kastrati<\/p><\/div>\n

Kaltrina Krasniqi<\/strong>: In my twenties I had a lot of anger. I felt women were erased historically. And it took time to understand that women were erased not only here. Globally, women filmmakers were rendered invisible for a long time.<\/p>\n

When we think about cinema here, you really have to go back to the 1960s \u2014the first time Kosovo Albanians saw themselves on screen. But those films weren\u2019t written by Kosovar Albanians; they were created elsewhere in Yugoslavia, and Kosovar Albanians were mostly depicted as exotic, traditional, simplified \u2014and always through a male gaze. Later, when Kosovars themselves started making films, it\u2019s interesting to see what kinds of stories they were telling. Again, men were at the center. They were trying to speak about where they came from, but often through the repeated trope of the suffering man. Women existed in those films, but in highly stereotypical ways: either young and na\u00efve, or old, traditional, defenders of a male moral code.<\/p>\n

For a long time, I used to judge those films harshly. But when I look back now, that feeling has shifted. Film is a complex and expensive practice; it rarely exists independently. It depends on state funding, on political and social climates, and all of that conditions autonomy in storytelling. During those years in Yugoslavia, there was censorship \u2014political and artistic. There was also self-censorship. People even went to prison for certain stories. So those films often hide themselves; that\u2019s why we can\u2019t always connect to them directly.<\/p>\n

Today, I think we should be generous with them. We should see them as archival material. They answer many questions about the context in which they were created.<\/p>\n

But in my twenties, I didn\u2019t have the generosity to see all of that. I just felt we didn\u2019t exist in those stories. Later I realized that women didn\u2019t exist in cinematic storytelling almost anywhere. We only started seeing women as filmmakers and authors very late worldwide. Even in countries with long cinematic traditions, women who are now considered globally central worked from the margins and were recognized decades later.<\/p>\n

Think about Chantal Akerman, the Belgian filmmaker. She has been there since the 1970s but we only started seeing her movies 15 years ago. She’s one of the most relevant filmmakers worldwide, and she doesn’t come from the margins, she’s Belgian, French. These women just basically created from the periphery. There were so many other women from various generations, creating all the time, parallel to all of these men. But there was no platform for that storytelling.<\/p>\n

Basically, we globally needed a political shift in order to be able to see all of those films. Only in the last two decades has there really been a shift. Once you start seeing more women worldwide, you begin to understand how our experiences connect, how they\u2019re not so different in essential ways. There has always been an incredibly rich women\u2019s cinematic tradition, but it didn\u2019t have a platform, because economies and systems weren\u2019t built to recognize women as audiences or storytellers.<\/p>\n

\"\"

Filmstill from Vera Dreams of the Sea<\/em> (2021) de Kaltrina Krasniqi<\/p><\/div>\n

Antoneta Kastrati<\/strong>: I relate to what you are saying, both the anger and the erasure. For me it started early, as a teenager and even before that, watching my grandmother, my mom, my older sisters, and then my own experience. You grow up inside gender rules that are everywhere, and you feel watched. Your body needs permission: how you dress, how you walk, where you go, who you talk to. People monitor you before you even understand your own body. Meanwhile your brothers and cousins move through space without thinking about it.\u00a0 In the 1990s, Serbian state oppression and violence layered on top of all that, so women were carrying two layers at once. And then during the war, women and children were so often the targets. After 1999 there was a fast shift, the world \u201copened\u201d fast, especially for women, but so much of women\u2019s experience still felt absent.<\/p>\n

So for me, it wasn\u2019t about \u201cOh, I want to tell the story of this woman, but it was about a way of seeing that was missing. For me that way of seeing is inseparable from the body. Mind and body aren\u2019t separate. Experience is embodied, and violence doesn\u2019t just happen and disappear. The body carries it. It comes back in sleep, in intimacy, in fear, in the smallest daily movements. That\u2019s why in Zana<\/em> it was important to confront what violence does to human bodies without sensationalizing it or turning it into spectacle. During and especially after the war, brutal images of violence were often exhibited and circulated without care, like proof, like content, without real respect for what they meant for the people inside them. I wanted to push against that. I wanted the viewer to feel the weight, not just understand it as information.<\/p>\n

And with Zana<\/em><\/a>, trauma isn\u2019t only memory. It\u2019s the body continuing the battlefield in private. Lume\u2019s infertility and the night terrors aren\u2019t symbolic add-ons. They\u2019re literal. The war is still inside her. And what makes that even harder is the pressure around her. A society wants women to carry the future: children, continuity, normalcy. But it doesn\u2019t want to fully name what the past did to them. So she\u2019s expected to be fine, to be a wife, to be a mother, to restore order, while the real story is the unspoken brutality sitting under everyday life. And language often fails there. I say that also from personal experience, because I know what it means when language fails and the body carries what you can\u2019t explain. Cinema can stay with it, and hold what words can\u2019t.<\/p>\n

\"\"

Filmstill from de Zana<\/em> (2019) de Antoneta Kastrati<\/p><\/div>\n

Kaltrina<\/strong>: What\u2019s unique in your approach \u2014especially around motherhood\u2014is that you expose how policed our imagination is. How much propaganda we\u2019ve absorbed about what motherhood is \u201csupposed\u201d to feel like, and how we\u2019re supposed to perform it publicly and privately.<\/p>\n

And it also raises something we don\u2019t discuss enough: loss from women\u2019s perspectives. Wars happen, and the stories we center are rarely the women\u2019s losses. That experience is not what we usually see.<\/p>\n

And then it connects with Vera and her generation \u2014how certain ideas about women\u2019s lives and roles become completely internalized. This sense of: I sacrifice because I\u2019m a mother, because I have children, because I have a brother \u2014it\u2019s what I do. The body is always there, but it\u2019s a body that serves larger purposes: the family, the house, the continuity of things. What I found powerful is how this also sits inside a society going through radical transition, where people are constantly turned into collateral damage. And in these kinds of dramatic social shifts, it\u2019s so often women who become the primary collateral bodies.<\/p>\n

And what\u2019s both moving and strange is how normalized that is\u2014how sacrifice becomes a point of pride. I see that so clearly in my mother\u2019s generation. It feels believable because it\u2019s still there; it\u2019s lived.<\/p>\n

\"\"

Filmstill from Vera Dreams of the Sea<\/em> (2021) de Kaltrina Krasniqi<\/p><\/div>\n

Antoneta<\/strong>: I wanted to ask you about that shift you described. You were talking earlier about being angry, In Vera<\/em><\/a> you can feel the anger, but you don\u2019t punish the older generation. You let anger and empathy sit in the same frame. There\u2019s something really beautiful about that.<\/p>\n

\"\"

Filmstill from de Zana<\/em> (2019) de Antoneta Kastrati<\/p><\/div>\n

Kaltrina<\/strong>: While making Vera<\/em>, I felt that cinema was a great place to preserve certain conversations. I felt we never had that opportunity before, to record our conversations. We don\u2019t have to come up with resolutions, but we definitely need to record our intergenerational conversations\u2014if not for each other, then for our daughters.<\/p>\n

\"\"

Filmstill from Vera Dreams of the Sea<\/em> (2021) de Kaltrina Krasniqi<\/p><\/div>\n

Antoneta<\/strong>: I relate to that so much. Making films takes time, and sometimes you need distance\u00a0 and time to clearly understand things.. I often think: I couldn\u2019t have made the films I\u2019m making now back in the 2000s. Now I\u2019m older, I have a different lens, and in a way I\u2019m in conversation with my past.<\/p>\n

After the war there wasn\u2019t space for real, honest conversation. There was one official narrative, nationalist, simplified, and even grief was hijacked. Our generation lived through the 1990s; we carry it\u00a0 in our bodies and memories. But the younger generation doesn\u2019t really know that time. So for me, filmmaking also becomes a way of sharing those experiences with them, especially our daughters, something they can return to when they want to understand us and themselves, and the inheritance of trauma we didn\u2019t choose.<\/p>\n

And at the same time, I think our films also carry something from that period; a sense of solidarity, of dreaming big, of what we thought freedom meant. It\u2019s not always explicit, but I feel it\u2019s there, like a kind of glue that holds everything together. A certain wisdom.<\/p>\n

\"\"

Filmstill from de Zana<\/em> (2019) de Antoneta Kastrati<\/p><\/div>\n

Kaltrina<\/strong>: If you look at the films women have made here in the last 10\u201315 years, many begin from absence \u2014because we didn\u2019t have visible predecessors. Not only thematically, but in gaze: how you look at women, queer people, your country. How honest you are with that gaze.<\/p>\n

Making films becomes a way of giving space to worlds people claim they don\u2019t see, even though they\u2019re present. It\u2019s political, but also personal: you research, you write, and you end up having conversations you\u2019ve never had before, even with your own collaborators.<\/p>\n

\"\"

Filmstill from Vera Dreams of the Sea<\/em> (2021) de Kaltrina Krasniqi<\/p><\/div>\n

Antoneta<\/strong>: For me, absence can also mean presence: we might not \u201cshow\u201d something directly, but it\u2019s there in sound, image, rhythm, time \u2014held in the body. Triggers aren\u2019t always external; sometimes the character carries them. Words can fail, so the film has to carry meaning differently.<\/p>\n

\"\"

Filmstill from Zana<\/em> (2019) de Antoneta Kastrati<\/p><\/div>\n

Kaltrina<\/strong>: And this work takes time. Sometimes your own country isn\u2019t ready for your film when it comes out \u2014and that can be okay. Your film enters the world immediately, but your society may need years to face and embrace it. And the beauty of film is that it can preserve a moment until people are ready to speak.<\/p>\n

I also think of films as letters<\/em>\u2014documents for future generations. Some conversations won\u2019t resolve in our lifetime. There\u2019s too much to process, and our lives are limited, short. But the films<\/a> can survive us, and maybe our children will connect to them differently than we can.<\/p>\n

(Featured image: Filmstill from Vera Dreams of the Sea<\/em> (2021) de Kaltrina Krasniqi)<\/p>\n","protected":false},"excerpt":{"rendered":"

For decades, Kosovar cinema \u2014like much of world cinema\u2014 was largely shaped by the male gaze: men\u2019s experiences, bodies, versions of history. Women existed in those films, but often as…<\/p>\n","protected":false},"author":2964,"featured_media":73484,"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":[7117],"tags":[7168,5750,7154,7169,7128,7127],"coauthors":[7160,7161],"acf":[],"yoast_head":"\nAntoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS<\/title>\n<meta name=\"description\" content=\"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/?p=73472\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Antoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS\" \/>\n<meta property=\"og:description\" content=\"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation\" \/>\n<meta property=\"og:url\" content=\"https:\/\/a-desk.org\/?p=73472\" \/>\n<meta property=\"og:site_name\" content=\"A*Desk\" \/>\n<meta property=\"article:published_time\" content=\"2026-01-12T06:02:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-01-10T17:28:35+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"541\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Antoneta Kastrati, Kaltrina Krasniqi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Antoneta Kastrati, Kaltrina Krasniqi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/a-desk.org\/?p=73472\",\"url\":\"https:\/\/a-desk.org\/?p=73472\",\"name\":\"Antoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS\",\"isPartOf\":{\"@id\":\"https:\/\/a-desk.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/a-desk.org\/?p=73472#primaryimage\"},\"image\":{\"@id\":\"https:\/\/a-desk.org\/?p=73472#primaryimage\"},\"thumbnailUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg\",\"datePublished\":\"2026-01-12T06:02:43+00:00\",\"dateModified\":\"2026-01-10T17:28:35+00:00\",\"author\":{\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/b94950e5feaaeaa250b86913a4514007\"},\"description\":\"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation\",\"breadcrumb\":{\"@id\":\"https:\/\/a-desk.org\/?p=73472#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/a-desk.org\/?p=73472\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/?p=73472#primaryimage\",\"url\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg\",\"contentUrl\":\"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg\",\"width\":1000,\"height\":541,\"caption\":\"Antoneta Kastrati Kaltrina Krasniqi-Fotograma de Vera Dreams of the See de Kaltrina Krasniqi\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/a-desk.org\/?p=73472#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Portada\",\"item\":\"https:\/\/a-desk.org\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Between Anger and Tenderness\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/a-desk.org\/#website\",\"url\":\"https:\/\/a-desk.org\/\",\"name\":\"A*Desk\",\"description\":\"A*Desk Critical Thinking\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/a-desk.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/b94950e5feaaeaa250b86913a4514007\",\"name\":\"Antoneta Kastrati\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/a-desk.org\/#\/schema\/person\/image\/150946195e42a88963a3b5fd837a1399\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a69c5dfe897700f4ec46cfbd958e7dd0?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a69c5dfe897700f4ec46cfbd958e7dd0?s=96&d=mm&r=g\",\"caption\":\"Antoneta Kastrati\"},\"description\":\"Antoneta Kastrati es escritora, directora y productora nacida en Kosovo\",\"url\":\"https:\/\/a-desk.org\/en\/autor\/antonetakastrati\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Antoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS","description":"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/a-desk.org\/?p=73472","og_locale":"en_US","og_type":"article","og_title":"Antoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS","og_description":"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation","og_url":"https:\/\/a-desk.org\/?p=73472","og_site_name":"A*Desk","article_published_time":"2026-01-12T06:02:43+00:00","article_modified_time":"2026-01-10T17:28:35+00:00","og_image":[{"width":1000,"height":541,"url":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg","type":"image\/jpeg"}],"author":"Antoneta Kastrati, Kaltrina Krasniqi","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Antoneta Kastrati, Kaltrina Krasniqi","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/a-desk.org\/?p=73472","url":"https:\/\/a-desk.org\/?p=73472","name":"Antoneta Kastrati Kaltrina Krasniqi, KOSOVAR FILMMAKERS","isPartOf":{"@id":"https:\/\/a-desk.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/a-desk.org\/?p=73472#primaryimage"},"image":{"@id":"https:\/\/a-desk.org\/?p=73472#primaryimage"},"thumbnailUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg","datePublished":"2026-01-12T06:02:43+00:00","dateModified":"2026-01-10T17:28:35+00:00","author":{"@id":"https:\/\/a-desk.org\/#\/schema\/person\/b94950e5feaaeaa250b86913a4514007"},"description":"Antoneta Kastrati, Kaltrina Krasniqi. BETWEEN ANGER AND TENDERNESS, two KOSOVAR FILMMAKERS IN conversation","breadcrumb":{"@id":"https:\/\/a-desk.org\/?p=73472#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/a-desk.org\/?p=73472"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/?p=73472#primaryimage","url":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg","contentUrl":"https:\/\/a-desk.org\/wp-content\/uploads\/2026\/01\/Antoneta-Kastrati-Kaltrina-Krasniqi-VDOTS.jpg","width":1000,"height":541,"caption":"Antoneta Kastrati Kaltrina Krasniqi-Fotograma de Vera Dreams of the See de Kaltrina Krasniqi"},{"@type":"BreadcrumbList","@id":"https:\/\/a-desk.org\/?p=73472#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Portada","item":"https:\/\/a-desk.org\/en\/"},{"@type":"ListItem","position":2,"name":"Between Anger and Tenderness"}]},{"@type":"WebSite","@id":"https:\/\/a-desk.org\/#website","url":"https:\/\/a-desk.org\/","name":"A*Desk","description":"A*Desk Critical Thinking","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/a-desk.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/a-desk.org\/#\/schema\/person\/b94950e5feaaeaa250b86913a4514007","name":"Antoneta Kastrati","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/a-desk.org\/#\/schema\/person\/image\/150946195e42a88963a3b5fd837a1399","url":"https:\/\/secure.gravatar.com\/avatar\/a69c5dfe897700f4ec46cfbd958e7dd0?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a69c5dfe897700f4ec46cfbd958e7dd0?s=96&d=mm&r=g","caption":"Antoneta Kastrati"},"description":"Antoneta Kastrati es escritora, directora y productora nacida en Kosovo","url":"https:\/\/a-desk.org\/en\/autor\/antonetakastrati\/"}]}},"_links":{"self":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/73531"}],"collection":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/users\/2964"}],"replies":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/comments?post=73531"}],"version-history":[{"count":3,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/73531\/revisions"}],"predecessor-version":[{"id":73575,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/posts\/73531\/revisions\/73575"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media\/73484"}],"wp:attachment":[{"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/media?parent=73531"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/categories?post=73531"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/tags?post=73531"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/a-desk.org\/en\/wp-json\/wp\/v2\/coauthors?post=73531"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}