Film Review: The Eighth Commissioner (Osmi povjerenik, 2018)

Good literature rarely translates successfully into film. This challenge becomes even more pronounced within Croatian cinema. Such failures may stem from issues specific to the Croatian film industry or societal context, or from nuances lost in the transition from page to screen – no unintended wordplay implied. A prime example is Ivan Salaj’s 2018 film The Eighth Commissioner.

The film adapts Renato Baretić’s eponymous 2003 novel, widely celebrated as one of the greatest, if not the greatest, works of 21st-century Croatian literature. Its protagonist, Siniša Mesjak (played by Frano Mašković), is a young, ambitious, and successful politician being groomed as Zagreb’s next mayor. His career implodes after he is caught in a sordid sex and drugs scandal, prompting the Prime Minister (Stojan Matavulj) to dispatch him as far from the spotlight as possible. His destination is Trećić, an isolated Adriatic island whose inhabitants have failed to establish a local government in accordance with Croatian law. Mesjak is appointed commissioner to administer local affairs and organise the first elections. Even before arriving, he senses something amiss: seven predecessors have already failed in this task. The island lacks mobile signal and internet connectivity, while the locals speak an incomprehensible dialect. Mesjak finds crucial assistance in Tonino Smeraldić (Borko Perić), a kind-hearted epileptic youth who acts as his translator, guide, and assistant. Gradually, the commissioner uncovers the island’s secrets, wins the islanders’ trust, and, in the process, develops a genuine fondness for the place.

Two key elements that propelled the novel’s success – sharp political satire and intricate linguistic play – likely hold limited resonance for non-Croatian audiences. Within Croatia itself, however, the film faces additional hurdles: its plot and character dynamics feel increasingly disconnected from contemporary economic and political realities, which have shifted significantly since the novel’s 2003 publication. The film’s blend of comedy and drama appears to draw inspiration from Northern Exposure, particularly in its depiction of a charming, insulated community populated by a series of endearing, quirky characters, both locals and outsiders. Regrettably, if Salaj indeed aimed to create a Croatian counterpart to this beloved television series, the execution falls short.

The acting is generally competent, with Perić demonstrating particular talent for comedy. Mašković, cast as the straight man in this comedic dynamic, lacks both chemistry with his co-stars and, more critically, the fundamental charisma required to elicit audience sympathy for his character – a disgraced politician, arguably the most despised profession in modern Croatia. However, the more significant flaws lie in the film’s structure and pacing. Salaj attempts to cram excessive material into the runtime, including intriguing but ultimately disruptive experiments with magic realism (notably featuring the first Aboriginal Australian character in Croatian cinema). These additions contribute to an unwieldy 139-minute duration – exceptionally long by Croatian feature film standards. Many scenes, especially in the first half, feel painfully overlong or superfluous. It is highly probable that The Eighth Commissioner would have functioned far more effectively as a miniseries rather than a single feature film. While the production possesses occasional bright spots, they prove insufficient to offset its fundamental weaknesses or prevent it from becoming one colossal missed opportunity.

RATING: 5/10 (++)

(Note: The text in its original form is available here.)

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