Croatian Documentary Filmmaking Takes Center Stage at Ji.hlava 2025, But Are These Stories Ready for the Global Audience?
The recent Ji.hlava International Documentary Film Festival (https://www.ji-hlava.com/) shone a spotlight on Croatia, showcasing a diverse range of documentary projects in various stages of development at its New Visions Forum and Market (https://www.ji-hlava.com/jnv-market). These films offer a fascinating glimpse into the evolving landscape of Croatian storytelling, tackling personal struggles, societal issues, and the complexities of modern life. But here's where it gets controversial: can these intimate, often culturally specific narratives resonate with audiences beyond Croatia's borders?
Behind Open Doors: Nikola Kuprešanin's autobiographical documentary, produced by Ena Rahelić, delves into the world of psychotherapy through the filmmaker's own experiences. Years after his therapy sessions, Kuprešanin reconnects with his former therapist, Milena, in Belgrade. Their candid conversations and heartwarming observational scenes, mirrored by the filmmaker's marriage to a psychotherapist, explore the delicate balance between personal vulnerability, healing, and artistic expression. The film challenges the myth that therapy stifles creativity, raising questions about the relationship between mental health and artistic output. Currently in production, the team aims for a 2027 premiere and seeks broadcasters and sales agents to bring this thought-provoking story to a wider audience. Is Kuprešanin's personal journey universal enough to spark global conversations about therapy and creativity?
Closing Time: Sara Jurinčić's hybrid documentary, produced by Dana Budisavljević and herself, takes a unique approach by focusing on the lives of immigrant night workers through the ritual of closing shops in urban environments. Shot in the dim light of storefronts, the film reflects on labor, visibility, and inequality. This project, currently filming in several European cities, is being developed both as a short film and an art installation. The team is actively seeking co-producers to support the next phase of production. Does this innovative format effectively convey the experiences of marginalized workers, or does it risk aestheticizing their struggles?
Olimbi – Mother Courage: Karlo Mlinar's powerful documentary, produced by Filip Filković and Margareta Brodić, tells the inspiring story of Olimbi Hoxhaj, an Albanian mother who turned personal tragedy into a lifelong fight against stigma and discrimination. After discovering that she and three of her four children were HIV-positive in early-2000s Albania, where treatment was unavailable, Hoxhaj led efforts to secure access to medication and founded a national organization supporting HIV/AIDS patients. This project, in its early stages of production with support from the Croatian Audiovisual Centre (https://cineuropa.org/backing/387334/), is seeking co-producers, distributors, and broadcasters. Can this story of resilience and activism transcend cultural boundaries and inspire global action against HIV/AIDS stigma?
The Center of the World: Marko Šantić's documentary, produced by Jure Bušić and Nikola Tomić, focuses on the old city center of Split, Croatia, where mass tourism is putting immense pressure on local residents. The film follows 43-year-old Blanša and her nephew Doni as they navigate the disruptions caused by the constant influx of visitors. Combining Blanša's own mobile phone footage with observational cinematography, the documentary offers a cinematic portrait of a city struggling to preserve its identity. With approximately 50% of the film already shot, the remainder is planned for summer 2026, with completion expected by late 2026 or early 2027. The producers are actively seeking partners, co-producers, broadcasters, distributors, and festival collaborations. Does this film effectively capture the universal tensions between tourism and local culture, or does it remain too specific to Split's context?
The Three of Us: Lucija Brkić's debut feature, produced by Lucija Perić and Roza Medvešek, explores intergenerational relationships between mothers and daughters through a unique blend of contemporary and archival family footage. Structured around letters to Brkić's late grandmother, the film portrays the experiences of women over the past century, examining emotional inheritance, memory, and solidarity. With a predominantly female creative team, the film is currently in post-production and expected to be completed by autumn 2026. The producers are seeking collaborators for post-production, distribution partners, and festival strategy. Can this intimate family story resonate with audiences who may not share the same cultural background or family dynamics?
These Croatian documentaries, currently in various stages of development, showcase a rich tapestry of storytelling and thematic concerns. While they offer valuable insights into Croatian society and individual experiences, their success on the international stage will depend on their ability to transcend cultural specificity and connect with global audiences on a universal level. What do you think? Can these films find a global audience, or are they destined to remain niche, culturally specific works?
