Tomris Laffly Tereza sleeps alone in bed near the opening of “Tereza37,” Danilo Serbedzija’s placidly paced Croatian drama with edges both witty and shrewdly dark.
It’s an image that stands as a fitting visual foreword to Serbedzija’s film, as Tereza is often solitary at home despite being married; her husband is regularly absent, gone out to the sea frequently on his unspecified aquatic job.
Then the scene’s significance grows as Tereza rolls over, revealing her blood-soaked undergarments and sheets that Serbedzija’s matter-of-fact camera captures with unsentimental directness.
Soon after she cleans it all up in a series of routine, Jeanne Dielman-esque moves, we realize that Tereza just had her fourth miscarriage, but wants to keep.
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