13/11/2024 - We spoke with the Croatian director about her second film, the rampant patriarchy in her family and in her culture and the golden cages

One woman's rebellion against the rampant patriarchy in her family and, therefore, in her culture is at the centre of Only When I Laugh [+see also:
film review
interview: Vanja Juranić
film profile] by Croatian director Vanja Juranić, with whom we spoke on the occasion of her participation in competition at the 7th Euro Balkan Film Festival, in Rome from 6 to 12 November.  

Cineuropa: You are a filmmaker and also an activist in the fight against violence against women. The true fact on which your film is based dates back some 20 years. Has anything changed since then in Croatian culture? Is patriarchy still so entrenched?
Vanja Juranić: Thanks to decades of efforts by individuals and NGOs committed to women's rights and the fight for gender equality, positive changes have occurred within Croatian culture. Among the significant recent achievements is the inclusion of feminicide in the Criminal Law. However, survivors still often face stigma, inadequate institutional support, or re-traumatisation when seeking justice. One key factor in shifting traditional narratives is the growing openness to discussing topics that were once considered taboo. Social networks have played a crucial role in breaking stigmas and fostering difficult conversations, particularly about violence against women. 

The style of the film oscillates between documentary, with the use of handheld camera, and thriller, with nightmares, flash-forwards... What guided you in choosing the genre with which to tell this story?
I wanted to create a sense of raw authenticity and realism. I also work in documentaries, so perhaps that's where the need for the fiction film to be as close as possible to reality comes from. I aimed to use thriller elements to engage viewers and visually capture the psychological and emotional struggles of Tina, the main character, along with her deepest fear, losing her daughter.

Most of the film is shot in the house, with many scenes taking place in the kitchen. Was it your intention to convey a sense of claustrophobia, as if the protagonist were living in a cage?
Our main goal was to show how private patriarchy is the hardest to change, and the kitchen, as a suggestive image of the domestic sphere, was an organic choice. It is also a place where roles are often imposed, especially on women, which can sometimes feel like a cage, and in Tina's case, a golden cage.

The character of the husband is ambiguous; he seems cooperative but then secretly sabotages his wife. He does not seem evil per se, but a victim in turn of the patriarchy. 
The husband is a product of the environment that shaped him, a system that not only crushes women but also traps men in restrictive roles and expectations. Yes, he is also a victim, but he is not aware of it. Deep down, he knows he should support his wife in pursuing her dream, but the patriarchal, macho mindset is much stronger and deeper within him. We wanted to show both sides of him – as a victim and as an abuser.

What is striking is how the women who revolve around the protagonist (her friends, her mother-in-law, her mother...) have introjected patriarchal culture and are totally resigned to it. Even the young daughter is on that path.
I have often experienced internalised patriarchal norms and misogyny from other women, and it hurts even more than when it comes from men. During the preparation for the film, some women told me not to make it, they even tried to scare me by saying there could be serious consequences. At first, I even considered making the film under a different name. This behaviour is a textbook example of the ignorance that perpetuates our patriarchal mindset. Kids often mimic what they see around them and absorb everything like sponges. It's not that we lack knowledge, what is missing is the courage to understand what we know, to draw conclusions, and to change ourselves. Some people just don't understand that the patriarchy doesn’t spare anyone.

At the Euro Balkan Film Festival in Rome, you are participating in a talk on the topic of being a woman in the film industry: how is the situation in your country?
In Croatia, we have the Audiovisual Centre, which provides generous support to female filmmakers and producers. At one point, this was even a major focus for them, and I wouldn’t be surprised if there are now more female producers than male ones in Croatia. Recently, an established film director was exposed for abusing his position and engaging in sexual harassment. When one of the victims spoke up, he was promptly removed from all current and future projects, with no doubt on the victim’s credibility. This response shows how Croatian filmmakers stood together with zero tolerance for his actions. While this type of behaviour can be found in any country, it is crucial to address it openly. We need to stop telling women how to survive predators and instead tell predators not to be predators.