Cinema of Croatia
The cinema of Croatia has a somewhat shorter tradition than what is common for other Central European countries: the serious beginning of Croatian cinema starts with the rise of the Yugoslavian film industry in the 1940s. Three Croatian feature films were nominated for the Academy Award for Best Foreign Language Film, several of them gained awards at major festivals, and the Croatian contribution in the field of animation is particularly important.
History
Early 20th century
Although motion pictures appeared in Croatia relatively early, for most of the early 20th Century film was almost exclusively the domain of a few dedicated amateur enthusiasts, most notably Josip Karaman in Split and, later, Oktavijan Miletić in Zagreb. In 1906, the first permanent movie theater was established in Zagreb.Josip Halla produced and directed early documentaries during 1911. and 1912.. The first full-length movie was Brcko u Zagrebu released in 1917, and directed by Arsen Maas. It was followed by Matija Gubec, released in the same year and directed by Aca Binički. Neither of these movies survive to this day. In 1918, Croatia film produced additional 5 movies all directed by Josip Halla before the proprietor dissolved the company.
Croatia lacked the political and economic infrastructure to support its own cinema industry. The most serious effort in that direction before World War II was the series of educational films produced by Škola narodnog zdravlja.
World War II
The cinema of Croatia became an institution after the establishment of the Independent State of Croatia in 1941. The new Ustaše regime quickly realised the need for modern propaganda tools modeled on those of Nazi Germany and Fascist Italy. After serious lobbying of these two governments for technical advice and resources, the first propaganda films were made in late 1941. Croatian filmmakers like Branko Marjanović produced in 1943 the documentary Straža na Drini which later won the Golden Lion award at the Venice Film Festival, attended by Axis power countries. After the collapse of NDH in 1945, Tito's victorious Communists also recognised the importance of the film industry and decided to build their own. Many technicians and co-workers of the Ustaše propaganda cinema industry during the war were in fact double agents working for the partisan side, with one main task: to keep the technical facilities untouched upon the collapse of NDH. Therefore, the new regime inherited the technical equipment, and more importantly trained personnel, including directors and top officials. The result of such a policy was the rapid development of the Croatian film industry, although initially under jurisdiction of the federal government in Belgrade.Early communist period
In 1947 Jadran Film studios were founded in Zagreb.First Golden Era: Late 1950s
Croatian feature films from the 1950s were not easily distinguishable from those made in the rest of Yugoslavia; this was mainly owing to the free flow of resources, information and talent among the various parts of the country. It had its first serious peak in the late 1950s, when Croatian film were possibly the most mature in then-young Yugoslav film industry. The most important author of that era was Branko Bauer, a Dubrovnik-born director whose most famous film is the urban war thriller Don't Turn Around Son. Loosely based on Carol Reed's film Odd Man Out, it describes a destiny of a fugitive from an Ustasha camp who comes to Zagreb to find his son, then realizing that the kid is at the Ustaše boarding school, and completely brainwashed. The hero struggles to leave Zagreb with his son, while deluding the son all the way about the goal of their trip. Among other important Bauer films is Tri Ane, produced in Macedonia, about a father who finds out that his daughter, whom he presumed to have been killed in the war, could be alive and adult person. Bauer's film Licem u lice tells the story about a corrupt director of a construction company who confronts a rebel worker during a communist party cell meeting. It is considered the first overtly political film in Yugoslavia. Another notable 1950s' figure is Nikola Tanhofer, former cinematographer and specialist for various action genres. His most famous film is H8, a reconstruction of a real traffic accident in which several passengers on an intercity bus between Zagreb and Belgrade were killed, and in which the driver of the car who caused the accident escaped. Following in parallel three vehicles and dozens of picturesque scenes, H8 offers a mosaic-like picture of late 1950s society, and its dramaturgy resembles a - then nonexistent - disaster movie genre. In that period, two Croatian films were Academy Award nominees for foreign language film. Both of them were directed by guests from abroad: an Italian Giuseppe De Santis, and a Slovenian France Štiglic.Modernism
In the 1960s, Croatian cinema saw changes of style, in part owing to directors embracing modernism. The first modernist film was Prometej s otoka Viševice by former cartoonist Vatroslav Mimica. Using techniques derived from the stream-of consciousness novel, Mimica tells a story about a partisan veteran and communist executive who travels to his native island and faces ghosts of the post-war past. Among other famous modernist classics, the most significant are Rondo by Zvonimir Berković, and Breza by Ante Babaja. The most popular author of that era was Krešo Golik, a director of comedies. Most popular of his films was Tko pjeva zlo ne misli, a romantic comedy set in 1930s Zagreb. Croatia also participated in the pan-Yugoslav "black wave", although the best authors and films of the black wave were Serbian. Most famous black wave classic from Croatia is Lisice, a film which is politically relevant because it is Croatia's first cultural product that dealt with the hushed secret of Yugoslav communism: repression against communists who stood by Stalin in famous breakup between Tito and Stalin in 1948.In 1969, the film Battle of Neretva directed by Veljko Bulajić was the one of the most expensive foreign language films made in Yugoslavia.
In the early 1970s, following Yugoslav constitutional changes, Croatia gained more autonomy in shaping its cultural affairs. This, ironically, didn't improve the Croatian film industry. Following the collapse of the Croatian Spring, Croatian Communist authorities in the 1970s pushed for tighter control over films. As a result, the general quality of Croatian films declined.
Prague School and Genre Cinema
Fresh air came to Yugoslav cinema in the late 1970s and early 1980s with the so-called Prague School, a group of authors educated at the famous Prague Academy FAMU. Amongst five directors usually presumed to be Prague School, two came from Croatia: Lordan Zafranović, and Rajko Grlić. Grlić's most famous film is You Only Love Once, a political melodrama that discusses the moral decay of the early communist establishment in the late 1940s. That film was in Cannes competitions. Lordan Zafranović's most famous films were Okupacija u 26 slika and Pad Italije, both of them war films set in coastal Dalmatia, and both screened at the Cannes festival.An interesting phenomenon of the 1980s Croatian cinema is the so-called "neo-genre" works from directors who used Western commercial genres such as horror, thriller, or detective movie and implemented it in late-communist societal settings. The most famous author of that trend is Zoran Tadić, especially with his metaphysical, black-and-white thriller Ritam zločina, and horror movie Treći kljuć, which discusses the problem of corruption through kafkaesque metaphor.
1990s: period of crisis
When Croatia became independent in the 1990s, Croatian film suffered a difficult crisis. Due to the wars, the market for Croatian films shrank, most of the theatres disappeared for good and no Croatian films could expect to be financially viable without even greater support from the state. In the period of the rule of Franjo Tuđman, the government avoided direct censorship, but demanded more nationalist content, making it less accessible not only to audiences in other countries, but also in Croatia itself.Croatian Film Today: Third Golden Era
After the political changes in 2000, Croatian cinema proved it could work in a completely free environment for the first time. As a result, at the beginning of this decade Croatian cinema flourishes again, and many critics write about "third golden era". One of the most popular authors in the contemporary Croatian cinema is Vinko Brešan whose comedies Kako je počeo rat na mom otoku, and Maršal mix grotesque humor and political provocation. Brešan's war drama Svjedoci was the first feature film from countries of former Yugoslavia which discussed the war crimes committed by "our guys", not the enemy. Film was screened in competition at the Berlin Film Festival in 2003. A Wonderful Night in Split by Arsen A. Ostojić received a nomination for the European Discovery EFA award, and Tu by Zrinko Ogresta was awarded at the Karlovy Vary Film Festival. Among other distinguished contemporary directors, internationally most recognized is Ognjen Sviličić, whose two films premiered at the Berlin Film Festival - Oprosti za kung fu and Armin. Armin was also Croatia's submission for the 2008 Academy Award, and although it didn't earn a nomination in the Best Foreign Language Film category, it did nevertheless receive the prestigious Best Foreign Film of 2007 Award given by the International Federation of Film Critics.Croatian cinema produces between five and ten feature films per year. Ministry of culture also cofinances approximately 60 minutes of animation per year, plus documentaries and experimental films which have a bigger cultural prestige in Croatia then in other countries of former Yugoslavia. National cinema attendances average at 2.7 million tickets bought by a population of around 4.5 million.