Film Review: A Wonderful Night in Split (Ta divna splitska noć, 2004)

As someone born and raised in Split, I have seldom had the pleasure of watching films set in my native city—and even rarer still have been the occasions when I witnessed their production firsthand. One such memory remains vivid: late autumn of 2003, standing a few blocks from Diocletian’s Palace, startled by sudden bursts of fireworks lighting up the ancient stone walls. At the time, it seemed an odd spectacle—unannounced, unrehearsed, almost anarchic. Only later did I learn these pyrotechnics were not part of any civic celebration, but rather scenes being shot for A Wonderful Night in Split, the 2004 anthology drama written and directed by Arsen A. Ostojić. This chance encounter with the film’s making lent a strange intimacy to my eventual viewing, as though I had unwittingly become a peripheral witness to its creation.

Set in the historic heart of Split—locally known as “Grad” or “Get”—the film unfolds over the final two hours before the New Year, interweaving three bleak, interlocking stories. The first follows Nike (Mladen Vulić), a 1990s war veteran turned drug dealer, who dreams of escape to Germany yet finds himself drawn back into a passionate, guilt-ridden affair with Marija (Nives Ivanković), the widow of a fallen comrade. Her young son (Ante Šimun Majstorović) watches with silent resentment, a poignant reminder of the generational trauma festering beneath the surface. The second narrative centres on Maja (Marija Škaričić), a heroin-addicted teenager from a privileged background, who trades sexual favours for her next fix from Franky (Coolio), a despondent US Navy sailor nursing heartbreak of his own. The third thread traces Luka (Vicko Bilandžić), a recovering addict whose attempt to consummate his relationship with Anđela (Ivana Rošćić) is thwarted by their inability to find privacy, leading him into a disorienting acid trip. These disparate paths intersect through The Singer (Dino Dvornik), a charismatic MC presiding over the New Year’s festivities and covertly overseeing the city’s underworld.

Ostojić, himself a native of Split, brings an unmistakable authenticity to the film. His deep familiarity with the city’s topography and psyche ensures that A Wonderful Night in Split transcends mere location shooting; the stone alleys, crumbling facades, and claustrophobic courtyards become characters in their own right. The choice to film in black-and-white—courtesy of cinematographer Marko Pivčević—further intensifies the film’s mood of despair, draining the famously sun-drenched Adriatic city of its postcard charm and exposing its grim underbelly. This aesthetic decision cleverly evokes the legacy of post-war European cinema, particularly Carol Reed’s The Third Man, to which Ostojić pays subtle homage through shadowy compositions and morally ambiguous protagonists.

Critically, the film was lauded in Croatia and even selected as the country’s official submission for the Academy Award for Best International Feature Film. Yet its reception among the general public, especially in Split itself, was markedly cooler. Locals, perhaps unwilling to confront the uncomfortable truths the film laid bare—drug addiction, economic stagnation, moral decay in the wake of the 1990s war—largely shunned it. This disconnect highlights a recurring tension in Croatian cinema: art-house ambition versus popular appeal. A Wonderful Night in Split firmly belongs to the former camp, embracing an anthology structure, pessimistic worldview, and stylistic austerity that align more with festival sensibilities than box-office success.

That said, the film is not without merit. Ostojić demonstrates impressive control for a first-time feature director, weaving his narratives with confidence and emotional precision. Nives Ivanković delivers a fearless performance, navigating a sexually explicit scene with raw vulnerability—a rarity in Croatian film. Marija Škaričić is equally compelling, portraying Maja’s tragic descent with heartbreaking nuance. And Dino Dvornik, the late musical icon whose flamboyant persona once embodied the spirit of Split, imbues The Singer with a weary gravitas that anchors the film’s chaotic energy.

Ironically, the film’s weakest element is its most internationally recognisable: Coolio. Though earnest in his portrayal of Franky, the American rapper-turned-actor lacks the subtlety required for such a psychologically layered role. More problematically, his presence feels jarringly out of place—an imported figure whose storyline, while thematically resonant, never quite integrates into the film’s organic urban fabric. His scenes with Škaričić suffer from a lack of chemistry, rendering their encounter more transactional than tragic.

In sum, A Wonderful Night in Split is a flawed but compelling portrait of a city—and a generation—grappling with disillusionment. Its unflinching gaze may have alienated local audiences, but its artistry and authenticity ensure its place as a significant, if sombre, milestone in Croatian cinema.

RATING: 6/10 (++)

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