The history of cinema in Croatia dates back to the early 20th century when the first short films were shot in what was then part of the Austro-Hungarian Empire. In 1917, the first film production company, Croatia Film, was founded, playing a key role in consolidating national cinema. During the Kingdom of Yugoslavia era, film production was influenced by international trends, with a strong presence of documentaries and newsreels.
After World War II and the formation of the Socialist Federal Republic of Yugoslavia, Croatian cinema underwent institutionalization. State-owned film studios such as Jadran Film, founded in 1946 in Zagreb, became one of the leading production companies in the region. During the 1950s and 1960s, Croatian cinema gained international recognition with films exploring socialist realism and later, cinematic modernism.
During the 1970s and 1980s, Croatian cinema flourished with directors like Krsto Papić and Lordan Zafranović, who produced critical works about Yugoslav society. Animation also became a prominent field, with the Zagreb Film Animation Studio creating the globally recognized "Zagreb School of Animation."
With Croatia's independence in 1991, the film industry faced significant challenges due to war and economic crisis. However, film production rebounded in the late 1990s and early 2000s, supported by state institutions such as the Croatian Audiovisual Centre (HAVC). Filmmakers like Vinko Bresan and Rajko Grlić began receiving recognition at international festivals.
Today, Croatian audiovisual production continues to grow, with films winning awards at prestigious festivals like Berlin, Cannes, and Venice. Additionally, the industry has benefited from incentive programs for foreign productions, making Croatia a popular filming location for major Hollywood productions and series such as Game of Thrones.
In an interview with AV Creators News, the president of the Directors Association of Croatia (DHFA), Danilo Serbedzija, highlights the challenges facing the audiovisual industry in his country, stating that "the main problem of contemporary Croatian cinema is the lack of money. Our budgets are insufficient, so directors often have to accept small payments or even work for free just to complete their films." Despite these difficulties, he emphasizes that "every Croatian film is a small miracle considering the budget with which it was made."
Marsal (1999) and Koja je ovo drzava! (2008), directed by Vinko Bresan
Regarding film financing, Serbedzija explains that "the main source of funding is HAVC, the Croatian Audiovisual Centre, which provides the money for our films. The rest of the funding comes from co-productions with other countries." He also points out that "Croatia is a very popular filming destination," noting that in addition to Game of Thrones, the country has hosted productions such as Star Wars and Mamma Mia, "which has led these major foreign companies to increase the cost of our Croatian crew."
One recurring theme in Croatian films is war stories, although Serbedzija states, "that theme does not define my perspective as a filmmaker."
Audiovisual Authors and the Role of the DHFA
In Croatia, the rights of audiovisual authors have been a constantly evolving topic. Author’s rights legislation protects creators in terms of the intellectual property of their works, ensuring their right to receive royalties from the commercial exploitation of their productions. Croatia's Author’s and Related Rights Act establishes that directors, screenwriters, and other authors are entitled to fair compensation for the use of their work on various platforms.
Danilo Serbedzija at the AVACI Congress 2024
The Directors Association of Croatia (DHFA) plays a fundamental role in defending these rights. Founded in 1995, the DHFA represents Croatian filmmakers and works to protect their interests both nationally and internationally. The association is a member of the International Confederation of Audiovisual Authors (AVACI), allowing it to collaborate with similar organizations in Europe and worldwide to strengthen the position of Croatian creators in the global industry.
Drazen (2024), by Danilo Serbedzija and Ljubo Zdjelarevic
One of the DHFA's main achievements has been the implementation of collective rights management agreements, enabling directors to receive royalties for the screening and distribution of their films in cinemas, television, and digital platforms. Additionally, the association has promoted initiatives to improve working conditions for audiovisual authors, ensuring fairer contracts and the inclusion of clauses that protect their works. At the beginning of February, Danilo Serbedzija was re-elected as president of the DHFA. The director states that one of his main objectives in this new term is "to secure more funding for the Croatian Audiovisual Centre and change our laws to require our public television to resume co-productions."
Danilo, who is also part of the AVACI Executive Council, maintains that "in Croatia, we need to change our laws" to improve the situation of audiovisual authors in terms of rights, recognition, and professional development opportunities.
Tereza37 (2020), by Danilo Serbedzija
"As a Collective Management Organization (CMO), we insist on obtaining the same rights as our colleagues in the music industry," says Serbedzija, who made his directorial debut with the film 72 Days (2010), which was Croatia's official submission for the Best Foreign Language Film category at the 2011 Academy Awards, marking a milestone in his career.
In recent years, the DHFA has worked closely with HAVC and the Croatian Ministry of Culture to promote policies that strengthen the country's audiovisual sector. Through awareness campaigns and training for new filmmakers, the association seeks to ensure that future generations of filmmakers have a legal framework that protects their rights and fosters creativity in Croatia's audiovisual industry.
AI and Croatia as the Host Country for the AVACI 2025 Congress
At the AVACI 2024 Congress, held in November in Mexico City, Danilo Serbedzija expressed his concerns about the challenges facing independent cinema due to technological advancements such as artificial intelligence. He also emphasized the importance of preserving author’s rights and promoting public policies that support local cinema development.
"We must be very careful with artificial intelligence. While it is promising and can be very useful, we must protect our intellectual property. This is our main goal now and in the future," says the DHFA president.
Regarding the upcoming AVACI International Congress, scheduled to be held in Croatia in November 2025, Serbedzija is optimistic: "I expect a great congress that will help strengthen our CMO and other regional CMOs that are fighting for more rights. I believe we must change our laws, and a congress with important people from all over the world will have a significant impact on our region. I also believe this congress will give AVACI more recognition in Europe."
Croatian cinema continues to evolve, facing financial challenges but maintaining its identity and presence at international festivals. The work of the DHFA and AVACI's support are crucial in ensuring a stronger and fairer future for Croatia's audiovisual creators.
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