Directed by Rich Peppiatt, Kneecap is a semi-fictionalised musical biopic starring Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh – all playing themselves. The film follows the formation and rise of the real-life group Kneecap, but at its core, is a piece that primarily emphasises the importance of preserving the Irish language, and by extension, Irish culture and identity.
Much like their music, the film alternates between English and Gaeilge as the group navigates the politically charged landscape of post-Troubles Northern Ireland. Their music, with its prolific use of Gaeilge and socially contentious lyrics, becomes both a site of conflict and an act of political rebellion.
Kneecap is the first Irish-language film to premiere at the Sundance Film Festival, and the language itself is integral to the narrative. Kneecap’s goal is not only to preserve the Irish language but to keep it vibrant and alive, despite British imperialist attempts to strangle it. Rather than fossilising Gaeilge, they reanimate it with a rebellious energy that speaks to younger generations. A central metaphor in the film likens language to direct action, with JJ Ó Dochartaigh coining the phrase “like a dodo breaking out of its cage”, symbolising the need to reclaim, revitalise and carry forward the Irish language.
When Arlo, Naoise’s dad and a former Republican paramilitary teaches the boys the language he declares: “every word of Irish spoken is a bullet fired for Irish freedom”. This phrase succinctly encapsulates the rebellious spirit of the film, asserting the very act of speaking Irish as a defiant ‘fuck you’ to British colonialism.
Integral to Kneecap’s engaging originality is its entrenchment in working-class culture. The film’s depiction of this culture isn’t mocking or patronising, instead being refreshingly honest. This can probably be pinned down to the notable (and positive) lack of nepotism babies within the cast and crew. Liam and Naoise aren’t reduced to caricatures – yes, they sell and take drugs, wear obnoxious tracksuits and have questionable morals but they are also passionate, articulate, creative and extremely intelligent. In their music and speech they constantly move between English and Gaeilge, showcasing a linguistic aptitude the more ‘civilised’ Duolingo warriors would be desperate for.
The film’s unpolished approach with its obscene language, drug induced blurriness, and cartoonish animation style which looks identical to scrawled graffiti in any urban area infuses humour and so much energy. If you grew up in any working-class area, you’ll know someone reminiscent of the Kneecap boys. They are fizzing with energy, ideas, originality and charisma that will unfortunately probably be overlooked for someone with a ‘nicer’ postcode and far less talent. Kneecap, the film and the group, promotes the (possibly idealistic) view that creativity thrives in these places and that artists with something to say can succeed – not in spite of their working-class roots, but because of it.
Whilst Kneecap have faced criticism of promoting sectarianism, I believe these claims are unsubstantiated as satire features heavily throughout the film. They don’t conform to any ideological purity, Liam has a relationship with Georgia, the niece of a unionist cop, and Rich Peppiatt is in fact English. The film is acutely aware that a mild-mannered, middle-ground approach wont work. Instead, it chooses to be outrageous in its political statements, ensuring that the heart of the film – the importance of language in cultural preservation – isn’t lost and is firmly rooted in Irish history. As a result, it becomes impossible for the audience, especially a British one, to ignore the importance of Ireland reclaiming their culture from British colonialism.
Kneecap was one of the most energising films I’ve seen in cinemas, and I strongly encourage everyone to go and watch it. We don’t need any more films from the same directors starring the same actors, sharing the same diluted messages. Instead we need unique perspectives, raw talent and blistering intensity that isn’t focused on palatability for the masses. I hope that this film keeps garnering recognition and paves the way for space in the industry for more fresh voices, faces and ultimately more original, engaging stories.
5/5
