The new Czech crime thriller They Call Me Lars (Říkají mi Lars) opens in cinemas nationwide from April 16, offering an atypical take on the hardboiled detective genre set against the backdrop of contemporary Prague. Directed by Jaroslav Fuit and starring Martin Hofmann, the film adapts a popular novel by writer Daniel Gris, translating its mix of humor, cynicism, and genre homage to the big screen.
Positioned as a tribute to classic noir storytelling, the film follows a private investigator drawn into a morally ambiguous case involving wealth, deception, and personal loyalty. While rooted in familiar genre conventions, the production aims to reinterpret them through a distinctly Czech lens, both in tone and setting.
A Prague-set homage to classic noir storytelling
They Call Me Lars centers on Lars, a former police officer turned private detective who operates on the fringes of legality. Portrayed by Hofmann, the character departs from the polished image of traditional noir detectives such as Philip Marlowe, instead appearing as a rough-edged figure navigating Prague’s underworld in a leather jacket rather than a suit.
The narrative begins with what appears to be a straightforward assignment. Lars is approached by his former colleague and friend, Gold (David Švehlík), with a lucrative job: obtain compromising material on the wife of a wealthy real estate magnate. The client, Leo (Pavel Kikinčuk), seeks leverage in a divorce and is indifferent to whether the evidence is genuine or fabricated.
Despite initial reservations, Lars accepts the job, motivated partly by a sense of obligation to Gold. The investigation soon spirals into a complex chain of events involving manipulation, seduction, kidnapping, and blackmail. As the story unfolds, shifting alliances and hidden motives complicate the case, gradually revealing a web of competing interests where no character remains entirely trustworthy.
The film draws clear inspiration from the film noir detective tradition, but relocates its conventions from 1930s Los Angeles to present-day Prague. According to the filmmakers, the city itself plays a dual role, depicting both affluent environments and the criminal underworld. Familiar landmarks, including Nusle and Žižkov, appear alongside less conventional locations, contributing to a portrayal of Prague that diverges from its typical cinematic image.
From page to screen: adaptation and production approach
The film is based on Gris’ novel of the same name, part of a broader series featuring the character Lars. The original book was conceived as a lighter, more humorous take on crime fiction, influenced by authors such as Donald E. Westlake and the stylized crime films of director Guy Ritchie. This tonal balance—between crime narrative and irony—carries into the film adaptation.
Screenwriter Ivo Trajkov and director Fuit made several adjustments to translate the story into a cinematic format while preserving its core elements. As with many literary adaptations, structural changes were necessary to accommodate pacing and visual storytelling, though the filmmakers have emphasized maintaining the original atmosphere and character dynamics.
Hofmann’s casting in the lead role was reportedly a key decision early in development. His preparation included physical training, learning to play drums, and obtaining a motorcycle license to perform scenes integral to the character. The production also emphasized practical filmmaking techniques, with action sequences staged without reliance on digital effects.
The supporting cast includes Justýna Zedníková as Bonnie, a femme fatale figure central to the plot, alongside Simona Peková and Kikinčuk as the wealthy couple whose relationship triggers the central conflict. Additional roles are filled by a mix of established Czech actors and performers from different backgrounds, contributing to the film’s ensemble dynamic.
Music plays a key role in shaping the film’s tone, combining an original score by Karel Havlíček with tracks by RedZed, blending rock and hip-hop influences. This approach aligns with the characterization of Lars himself, described as a rocker figure navigating both personal and professional chaos.
Produced with support from the Czech Audiovisual Fund and the Prague Audiovisual Fund, They Call Me Lars enters cinemas as part of a new wave of domestic genre filmmaking, attempting to expand the visual and thematic range of Czech crime cinema while remaining accessible to local audiences.
One Response
I didn’t know Martin Hofmann was in this. What a cool choice for a noir film!