Jakub Króner’s crime-thriller Černák, akin to a Slovak version of The Godfather, became a domestic box-office success upon its release in January. During its opening weekend, the film recorded the strongest-ever opening in Slovak cinemas, surpassing even the local debut of Avengers: Endgame, which had grossed €759,910. Following this, Černák maintained its momentum and ultimately became the highest-grossing film in the modern history of Slovak cinemas. It overtook Avatar: The Way of Water, which had previously led with 407,126 admissions and €3,160,619 in box-office revenue, as well as beating the US animated film Inside Out 2 (401,279 admissions, €2,777,161). Another high-ranking title it surpassed was Miki, the previous part of the Černák saga, also directed by Króner. The first instalment in the two-part story exploring the rise and fall of one of Slovakia’s most notorious mafia figures, Mikuláš Černák, Miki was released the previous year and portrayed Černák’s transformation from an ordinary man into a feared mafia boss entangled in the country's political and criminal systems. The film earned €2,922,627 and attracted 379,064 admissions (see the news).

Initially conceived as a single feature, the project was expanded into two parts owing to the scope and intricacy of the subject matter. While Miki traces Černák’s early life and rise within the criminal world, the sequel, Černák, focuses on the consolidation of his power and his eventual downfall, driven by entanglements with corrupt politicians and members of the secret service. The two-part project follows a now-familiar model for domestic box-office success: a genre film rooted in recent Slovak history, inspired by real events, and framed by the intersection of organised crime and politics, with a retro aesthetic appealing to local audiences. Although the events depicted took place three decades ago, the release of Černák coincided with renewed public attention being paid to its subject. Currently serving a life sentence for over 20 murders, Černák began parole hearings, which have been widely covered in the media. The timing of the film’s release has contributed to public interest, prompting audiences to revisit his story.

Despite their commercial success, the films have generated debate over the depiction of a figure responsible for so many deaths. Critics have questioned the ethical implications of bringing such a story to the screen. The film’s producer, Zuzana Mistríková, of PubRes, has defended the project, emphasising that the films aim not to justify Černák's actions, but to prompt reflection on the societal conditions that allowed such figures to thrive. By focusing on the ordinary origins of Černák's rise to power and the systemic corruption surrounding him, the filmmakers hope to spark a broader conversation about the nature of evil and the forces that shape it.

After 16 weeks in cinemas, Černák remains among the most-watched titles, holding 13th position, with box-office earnings of €3,394,634 and 416,038 admissions. The film is now transitioning to streaming, joining the Netflix library for local audiences, where Miki, which is already available, has also attracted significant viewership. In parallel with feature films, the creative team developed a four-part miniseries titled Miki, intended not merely as a re-edited version of the movies, but as a story extension. Slovak broadcaster TV Joj and Czech Television are scheduled to air the miniseries in autumn 2025. The producers plan to begin presenting the project to international broadcasters and streaming platforms during this year’s Cannes Film Festival.