One of the first TV shows and screenwriter of Kinostudio: Angjelina Xhara: How we were condemned for the movie "Enver"
A confession of the former TV news star, who later became a filmmaker. The "shield" dress from "American imperialists" and how the Kinostudio group rescued after re-education after Dritero Agolli's intervention ... A study of Albanian filmmakers and a documentary cycle for successful women in emigration.
One of the first news stars in Albanian Television, Angjelina Xhara, was only 12 when she participated in children's shows. Later, in the second year at the gymnasium, he gave direct news at 20:00, in what was known as the Radio and Evening Magazine. But Xharra's life was destined to pass after consecutive surprises. In the second year at the University, in 1969, she delivered the news as the first TVSH show, because Vera Zheji did not want to emerge as news stars, so Angjelina appeared with Kiço Fotiadh. Even today, she remembers nostalgically this period, where she has been beside the big speculators. But luck wanted to break away from the television screen and go to Kinostudio, to be part of the first generation of cinemas in Albania. For Xharra, this was a great fortune, no matter how he understood it at that time ... A fortune that would mark the future is still today's ... There are dozens of documentaries bearing the name of Angjelina Xharra ( Papalilo), while she continues to create, write and run different movies. Finally, Xharra is dedicated to the feminine figure. It is in the process of writing a book for women of Albanian cinematography, while it has started to produce a series of documentaries for Albanian women in emigration ...
You are one of the first speakers of Albanian Television. How do you remember your first appearance on the screen as a newsmagician? Angelina Jara and Zerina Kuka at the beginning of VAT in 1969 I was prominent in Albanian Radio Television for a long time, from the seventh elementary grade, when I went to the children's show. In the second year at the gymnasium I went to the Evening Radio at 20:00, it was a major news show. I was little at all and I did not even notice politics. I read the news automatically. But I had a good voice, I was a good student, trusted in me, and allowed me to speak. Then in the TVSH I was chosen among the first speakers I spoke with Kiço Fotiadh. Then spoke Violeta Congo and Amalia Çala, two very talented girls, and then when she left the TVSH, she was Tefta Radi. Do you remember what you wore on that first screen screen? When I started the news on television, they made me a weird dress ... I was 20 years old, new at all when I saw the dress was made with black tyl ... Of course with a white part of the interior. I wore very little and used my dress ... and know what ?! A gray gray dress with a white striped bolero that had come from a pack of my mother's palm from America. While we chose American imperialists, I had the shield of that dress. Few confused to believe it, but I tell you my true feeling ... You remember the nostalgic period spent on VAT. Why did you break away from there? Angelina Jara with my spouse, Pandi PapaliloI have been appointed to Kinostudio, together with Vlaasova Mustna, who I had friends and associates with Kinostudio. We have supported each other. Initially I was editor at Kinostudio, then scriptwriter and I worked for the Cinema Ministry of Cinema Cinema as well. Democracy found me privileged. Suddenly, by some kind of uncertainty that I had about my biography, which now seems to me not important, I say that my appointment at Kinostudio was great luck. The VAT would be squeezed like lemon and I could not do those beautiful movies I did and do. I thank God and the people who suddenly assigned me to this place. What do you remember from the past years at Kinostudio? I remind you of Kristaq Dhamon, a wonderful Artistic Director of Kinostudio. There was no documentary film that was not done without his will. I want to remember and Endri Kekon, but not only. I was a bit rush and immature once in a "Voice of the People" script and made a script for a mother who had 12 children and welcomed her and 13th. Endri told me: "Angielina, the documentary is never done on the basis of the newspaper. You can take the act, but watch it there instead of where it is. We went to Vlora and became a beautiful movie, except for the text I'm just coming to, that the text then had a great ideology. How did you feel the weight of this ideology on the shoulder? There were times when you really suffered because of it? Angelina Jaro with her friends, Margarita Xhepa and Shpresa Hudhri At Kinostudio, once we were taken to take six months for re-education. It was a documentary about the Enver plant and there was a portrait of Fiqrete Shehu at a time when she was declared "Party Enemy". He entered the chair of the Writers' Association, Dritëro Agolli, and saved the entire film group without making the decision, because the movie had not yet been released in the cinemas of the city. \ r \ nYou remember when I was assigned to a creative group for a documentary on the fight against religion. I was a man who trusts a lot in God because so my mother has taught me. But the movie I made, that was the time. The atmosphere at Kinostudio was inspirational, however, for certain topics. The artists themselves had self-censorship, they had seen where they ended up thinking differently from the general socialist. You've made dozens of documentary films and you've also published books: the monograph about Margarita Xhepa, your novel, a poetic volume ... Finally, you seem to be dedicated to the feminine figure, the books and the film. Why? Because I am a woman myself, I was excited about how feminine gender has unfolded with her personality in all fields of creativity in movies filmed by New Cinematography and for this I did a thorough study. This study was carried out at the beginning of democracy, but I say that I must now review it to complement it with new things, new phenomena, new personalities, new expressions of creative artistic hobbies in cinematography for the last two decades. It's a voluminous, tiring, long work, and I say that, although there are some difficulties, it should be done, so it also makes a thank you for this whole women's creative group. I want to point out that I'm passionate about the movie and then the book. The book is easier than you are with yourself and publisher, while film is a collective art, where you have to deal with some creators. I usually write the movie script, but now I've also been to the director. Can you list some of the filmmakers that will be the main part of this study? One of the main characters is Xhanfize Keko, a famous filmmaker for children. It is the main figure in this edition that will be made, not merely a woman who tried to compete and ran very successfully the male sex, but above all had a great and beautiful concentration. She had a find within her. It was not scattered in different things. Initially, she started her life as a ticket to a movie theater, much loved by the movies. Then, after studying in the Soviet Union, where he met with director Endri Keko, her life was channeled permanently, spiritually and creatively into the sex of the film. Her speciality was to find a children's artistic film. There it became incomparable, inalienable. Since most of the creativity I have in the other regime, I would like to highlight the most prominent things, the greatest achievements women have at that time plus the transition period. But although the only artist in the genre, besides Kekos, there were other female screenwriters and scriptwriters ... Pas Xhanfize Kekos, I think the woman is presented with dignity in the documentary film as a director. I will deal with women's main figures, such as: Adriana Elini, Vitori Çeli, Marianthi Xhako, Donika Muçi, figures highlighted by high-level artwork. There were works found in the golden fundraising of Albanian documentaries. But even with screenwriters like Natasha Lako or Vasllova Musta. A country will also occupy female actresses in the feature film. They are a fantastic creative resultant. Figure like Tinka Kurti, Margarita Xhepa, Light Pelinku, Behije Çela, Marie Logoreci, Besa Imami, Rosa Anagnosti, Marjeta Ljarja, Yllka Mujo etc. Women who have devotion and do not have bribes. It will not just be counting their movies, but they talk about emotional moments, how they have felt in special moments from their movie-related creativity. Suppose, Marjeta Ljarja is married to Richard when the film "On snowy forests has life". There will be some "discoveries", though we call the personal things taboo a little bit. I will try to harass things that are of interest even on the personal side, with a bit more courage, to show the artistic life, to be liberated, and ultimately part of life. \ r \ nThank you for these creative women you had a friend, who would you sing? \ r \ nI mean we had fantastic relationships at Kinostudio, to inspire a lot and it is exactly the result of this creative atmosphere that came those movies that can reappear carefully and in our day and can not compete easily. I've had friends and I have pictures with them. I have it in the drawer of my memories. Vitori Celi, for example, said to me, "Angjelina, do not be tired of looking for special things in continuity. The film is enough for an artistic find. That finding will keep dramatically. Then, the rest will be history, you can not avoid it. " We made the film, which won and won the Film Festival, "Prof.Dr. Alexander Xhuvani ". Adriana Elin I had a very close, loving and indisputable friend. With him I felt very loose, I did not have the stress of work. Along with him and Agim Fortuz we made our "carpets". We have gone up to the middle of the Kurvelesh Mountains to shoot and remember that we had a bust of Karadak with us. I was behind and kept the bust with me. Agim said to me, "You will see how to shepherd the sheep, and we will eat the flesh." When we went there we were sheared and I did not eat ripe meat, but I was delighted with the simplicity of life, the beauty of the reception of the simple people there and we gossied what we could. Did not you have film school or not, like did you learn the profession? We learned the movie at Kinostudio. Kinostudio was a great school of apprenticeship. Those who had learned overseas jobs were very few. For example, only Marianthi Xhako had learned the director's profession and gave it to others. With me I have several successful films, such as director and scriptwriter, for example for the '24s revolution. In the meantime, you have been living for several years in emigration and are also implementing a series of documentary films for successful immigrant women ... I do not know how to choose the funding issue for some movies but I have scenarios for some pictures prominent in the Diaspora. For example, when I retired to New York, I met two stunning women's fates. One was from the past, persecuted, tired of life. He had experienced the bitterness of life. He was one of the first actresses of the Albanian film and went into jail, had the bitter history of her life. He emerged from prison, eventually divorced from artistic life and spent years in the United States in a country where man is free, gets what he belongs to, in a fantastic country that respects human rights. There, she at least closed her life near her beloved family. She has also been an actress in Italy, where the school had done it. "Meeting on the lake" is her first movie and should be discussed with Italy to become this film. It is very beautiful that her bride speaks with great worship and wants to tell this story. This cycle for women started with the documentary film about Iliriana Sulkuqi, a poet of emigration, where the emigrant's lot comes out of an ocean . Her documentary film was performed with Ilia Tërpini and directed by Kolec Traboini. Another personage is Rozi Theohari, a woman of special personality, who, although she had begun in Albania for 20 years in the US, plucked with a fantastic personality in creativity, novels and books, with her way of communicating.