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.