(VIDEO) “Confrontation” Movie!

_____________

Thank you for reading this post, don't forget to subscribe!

CONTINUATION OF THE FILM AS BELOW

 

“Confrontation” Movie, produced in 1976.
Director: Viktor Gjika,
Screenplay: Teodor Laço,
Producer: Kinostudio “Shqiperia e Re” |  Music: Thoma Gaqi.

Performed by
Bujar Lako … Martin Kreka
Sandër Prosi … Miti
Perika Gjezi … Agron Shullaku
Pandi Raidhi … Platon Bubuqi
Kadri Roshi … Nazifi
Jani Riza … Xhezoja
Thimi Filipi … Neziri
Stavri Skurti .. .Tarja
Agim Qirjaqi … Hareto, the deputy director of the factory
Refik Xinaku … Refati
Minella Borova … One of the factory workers
Mihal Stefa … Bame Karrocieri
Antoneta Papapavli … Klea
Vangjel Grabocka … Dine Çobani
Sotiraq Bratko … One of the factory workers
Petrika Riza … Koço Sharko
Koço Qendro … Shefedini
Dhimitër Trajçe … 
Zhani Ziçishti … Kopi
Dhimitër Pecani … Collection worker
Dhorkë Orgocka … Mara
Sami Qyteza … Dulja
Dhimitër Greku

Screening of Teodor Laço’s novel. After the end of the war, the new people who have taken power begin to face hunger. The secretary of the city party, Martin Kreka, goes to the villages and leads the campaign for the collection of grain that is sold on the black market. He is assisted by the collection director who also grinds the seed grain for bread.

“Korça e Gjika is enigmatic without the figure of the priest, leaving us in the asymmetric solitude of the Hoxha. But there is nothing accidental in this choice. The priest is precisely Plato, while his workshop is the Church of Christ. In dialogue with the bourgeois lawyer who depends on the secretary . Plato mocks the lawyer who is in front of the side window of the workshop. There is a mirror inside Plato’s cave, which reflects a cross, the cross of a “qivuri”. Seen from the outside, from the perspective of the lawyer, the cross of the “qivuri”, thanks to the play of the camera, appears within the glass frame in the right proportions to create the image of the place of God first we would affirm that God is dead, placed inside the “qivuri” with the symbol of the cross. This is, at least, the superficial meaning of the game of representation, which satisfies the various political directives, which deal with the reflections of appearance. But Gjika’s message is deeper than that. God, the Cross, the Church, Christ are preserved in the workshop-museum of Plato – the man who is not taught by discipline. It is the inversion of the allegory of Plato’s cave, where light and truth are inside it and not outside at all, with Plato the guardian of the exiled God. From here, the writing of the advertisement of the service workshop “That is, it serves from birth to death” makes sense.

For more detailed information, see the informative tab of this film:

________________________

Albanian Cinematography in activity since 2013