Kneecap (2024)

Director Rich Peppiatt‘s rowdy, frenzied film “Kneecap” is a lively biopic based on the hell-raising Irish rap trio of the same name. You’ve probably never heard of these musicians, but the film celebrates the general sense of anarchy as these young men become key figures in a civil rights movement to save their mother tongue. It’s a story about finding your voice in a world that seems determined to keep you down, all told with a slew of swear words, hip-hop tracks, and lots of drug-fueled shenanigans.
Set in West Belfast in 2019, the film depicts the origins of the group Kneecap, including insight on how they created their unique sound. In a bid to push back against the establishment, Liam Óg, Naoise Ó Cairealláin, and JJ Ó Dochartaigh (who play themselves in the film) take to the stage as a symbol of Ireland’s restless youth. They refer to themselves as “low life scum,” and their message resonates with so many. By writing and performing hip-hop songs in Irish, they become a local sensation. This garners the attention of their political martyr father (Michael Fassbender), the ire of party conservatives, and the adoration of the people.
It’s a true story that doesn’t give a ton of insight into the band members, but it’s still a lot of fun. The film features plenty of original music by the trio (which admittedly is an acquired taste), and their politically-charged rhymes and defense of their cultural heritage speak volumes. The guys write what they know, and the truth resonates with locals. It comes down to this: when cops don’t want people hearing your music, that’s when you know you’re doing something right.
The songs and the film rapidly switch between English and Irish, so it takes a lot of concentration to watch. I could see some viewers quickly giving up, but those who stick it out will be rewarded.
Liam, JJ, and Naoise are rambunctious lot, and their shenanigans are sometimes questionable but always entertaining. There are quirky bursts of humor that make the boisterous characters even more appealing. None of these guys are great actors, but it adds to the unpolished authenticity of the film.
There’s a defiant energy to “Kneecap” that is invigorating, and the story is one that’s different and original.
By: Louisa Moore / SCREEN ZEALOTS

Two lads with little by way of opportunity hook up with a school music teacher (DJ Próvai) whose wife "Caitlin" (Fionnuala Flaherty) is fighting for the legalisation of the Irish Gaelic language. Móglaí Bap and Mo Chara play themselves as two "low life scum" who have been taught to weaponise their language by "Arlo" (Michael Fassbender) who has decided that it's probably safer for him to die in a fatal accident at sea before the authorities catch up with him. With his ma unwilling to leave the house, Móglaí and his pal start to realise that there is a great deal of power in honestly crafted lyrics that cut through the politics and resonate directly with sections of the population consistently under-represented by mainstream media, radio, music... Thing is, though, the peelers aren't so keen on this subversion and led by "Ellis" (Josie Walker) whose niece "Georgia" (Jessica Reynolds) just happens to be Mo's on/off sex buddy, are quickly on their case. They've also attracted the attention of some radical republicans who ostensibly don't like the fact that a fair whack of their words relate to horse tranquillisers and other drugs they get sent through the post from abroad disguised as toys and DVDs. With the cops on one side and the fed-up paras on the other, not to mention their third wheel struggling to keep his involvement as under wraps from his school and his missus as he can, these lads don't have their problems to seek. It's unashamedly republican in sentiment and if that's not your position in the scheme of Northern or North of Ireland politics, then this might border on the offensive. It's fairly comprehensively anti-British. However, as these guys get up an head of steam you can't help but like them and want them to succeed in achieving their own sort of freedom from an oppression that is as much to do with their own futures as it has for the broader solution for their homeland. Their writing is ripe and pithy with loads of craic, a little violence but ultimately a message of hope and optimism that exemplifies the old saying about the pen being mightier than the sword - only in this case, it's the rap. It's course and brutal, and won't be for everyone - but you should give it a try.