media Jury

Elsa Demo


Elsa Demo is engaged with reports and analysis on arts and culture in Albanian daily media for two decades. She lectures journalism and Story of Art at University of Tirana and Elbasan. Co-editor with Ardian Klosi of two documentary and literary anthologies, the first about life under dictatorship in Albania: “Shqipëria kujton. 1944-1991” (“Albania remembers. 1944-1991”), and the second about post-communist era “Shqipëria tregon 1991-2010” (“Albania confesses 1991-2010”). She is a PhD for literature studies (Academy of Albanological Studies). She is author of the program “Artes” on RTSH (Albanian Public Broadcaster), since 2018. Elsa lives in Tirana.

Leonita Nika


Leontina Nika was born in Shkodra. She studied Language and Literature at the University “Luigj Gurakuqi”, Shkodra (2002) and specialized in television journalism at “Network Italia” 2004. For 20 years she has been working as a cultural journalist at Top Channel television, in the newspapers “Ekspres”, “Gazeta e” Tirana ”and“ Network Albania ”, for the cultural magazine“ Fokus ”and as editor-in-chief for the cultural magazine“ Spektër ”. For 11 years she has been working at “Abc” television as a journalist for cultural chronicles, reports and specials.

Kamuran Goranci


Born in Prizren. He studied Painting at the Academy of Arts in Belgrade. After them he worked as a professor of Figurative Art, director of “Hajdar Dushi” Gymnasium and founded the Art Gallery “Vision of RI 2000 +” in Gjakova. He also headed the Department of Culture and the SMP Arts Division at MCYS, Pristina, at the head of which he is currently. Since 2009 he is a professor for Drawing and Painting at the Faculty of Fine Arts. He has conducted several cultural and artistic projects in Kosovo, has participated in a number of exhibitions, art colonies and film, drama and music festivals in Kosovo and abroad. He has also been the producer of “ANATEMA” (Agim Sopi), “Kosovo Fathers” (Sunaj Raça) and “Three windows and a hanging” (Isa Qosja).

The cinema is trying to overcome a serious crisis …
This time a global crisis …
This is not the first cinema crisis …
It is not even its first global crisis …

But in contrast to its previous crises – outside it or partially inside it, this
crisis threatened and still threatens the motive of the existence of cinema
in modern times …,
the desire to consume the film together…

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