Kneecap

This is an excellent and challenging film, but I expect may be challenging for some of those from the various Irish and Northern Irish communities - which I'm not. I should also add it's not for people who find the idea of prolific drug use/references and sting language offensive - if you're one of those, don't see this. Is absolutely does help to have a little familiarity with the history of the troubles etc, but this film can also be viewed without that - it's a banging story about struggle and music, and almost feels like a really edgy, far more political reimagining of the Commitments - for the modern audience. The music is excellent, whether you understand Irish or not (I don't). One of the reasons I went is because I'd heard a couple of tracks form Kneecap and really liked them - I'm in my mid 60's, so this isn't just for those under 20. The story, acting, direction and script all come together in a really enjoyable and, ultimately, uplifting.

One night after the premiere, I found myself in a cinema, eagerly anticipating "Kneecap." As a Swiss viewer, I was immediately captivated by the film's raw authenticity. Following the Northern Irish rap group Kneecap, the movie vividly portrays the gritty realities of Belfast, blending rebellious energy with profound cultural insights. The film's power lies in its ability to transcend its local roots. Despite being set in Belfast, its themes of identity and resistance resonated deeply with me, even from a Swiss perspective. The visual storytelling is striking-Belfast's moody landscapes are rendered with a poetic beauty that draws you into the heart of the city's struggles. The soundtrack, a fusion of traditional Irish music and modern hip-hop, heightens the film's intense atmosphere. What truly stood out to me was the film's exploration of cultural identity. In a world that often feels homogenized, "Kneecap" celebrates the importance of staying true to one's roots while navigating change-a message that felt particularly poignant in our globalized context. In short, seeing "Kneecap" in the cinema, so soon after its premiere, was an unforgettable experience. It's a powerful, thought-provoking film that lingers long after the credits roll, leaving a lasting impression that crosses borders.

It's hard to think a country could marginalize its native language to a point where there must be almost a civil rights movement to bring about its recognition. Kneecap does just that: an origin story about the titular ragtag hip hop band eventually galvanizing Northern/North Ireland to recognize Gaelic (That happens not until 2022). Kneecap is energized by the sheer casualness of its players, many of whom were originals, and the endearing sloppiness of its production, like the lightness of, say, Spinal Tap. Although the Brit-influenced authorities are determined to stop the raunchy, randy group from promoting the cause, the boys endure censorship, incarceration, and the occasionally tart encounter. They are almost naïve about the consequences. Along for the more mature take is Michael Fassbender's Arlo, a father but even more a leader of the language movement, who feigns death for years to escape the authorities. Like the "Troubles" that plagued Belfast and elsewhere for decades that spawned the powerful IRA, this seeming less-bloody uprising has its own gravity, given how language guys like me hold communication in highest regard for solving the clashes across the globe. Kneecap is entertaining and historically insightful the way Branagh's Belfast was and differently Jordan's Crying Game, as a thriller, was for gender awareness and secondarily the Troubles. It's fun like Hard Day's Night or Commitments. Learn something and feel good about young people with a noble purpose.

So, two best mates in Belfast have regular run-ins with the police. One is jailed overnight for claiming to speak only Irish (Gaelic) and requiring a translator to communicate with the police. These mates are low-level drug dealers who enthusiastically endorse their products based on personal experience. Eventually, they bring on a DJ and decide to form a hip hop trio called Kneecap (a reference to the IRA's habit of shooting drug dealers in the knees as punishment). Oh yeah, they decide that all their lyrics will be in Irish, hardly a shrewd business decision since only 1% of the population of Ireland (about 30,000 people) are regular Irish speakers. From the outset, "Kneecap" offers a sustained level of manic energy, excitement and enthusiasm that courses through its crazy, chaotic, anarchic story in a way that's irresistibly intoxicating. Oh yeah, while liberties are taken - repeatedly, profanely - this is essentially a true story. The three key roles are played by the three members of the band, none of whom has any prior acting experience. Michael Fassbender ("Steve Jobs") also tags along. What carries this project is the band's refreshing willingness to be brash, bold and bawdy, while displaying complete disregard for how their ideas, their lyrics or their story land with the audience. They rail about British colonialism (primary schools using the Irish language were not allowed until 1972; the first Irish secondary school opened in 1991). They advocate for Irish becoming an official language in Northern Ireland (finally happened in 2022). They unflinchingly offer graphic examples of police thuggery. During a press junket, one band member was asked whether he had any reservations about the level of drug use portrayed throughout the film. His response: "No drugs were harmed in the making of this movie." In short, this film is a hot mess offered with uncompromising directness. Full disclosure, some story elements are fictionalized. For example, in the film the Radical Republicans Against Drugs threaten the boys because they are, you know, drug dealers. In real life, Republic Action Against Drugs was founded in 2008 and eventually merged with the Real Irish Republic Army in 2012. As you've already figured, this is hardly a film for those with delicate sensibilities. For the hardy souls willing to submit to this onslaught of profanity, profundity and political incorrectness, it's exhilarating. Kudos to Rich Peppiatt, the British writer/director who helms this Irish manifesto without a hint of irony. Here's hoping Naoise Ó Cairealláin (aka Móglaí Bap), Liam Óg Ó Hannaidh (aka Mo Chara) and JJ Ó Dochartaigh (aka DJ Próvai) become household names - seriously. "Kneecap" is certain to be the Irish entry for Best International Feature Film at the Oscars. Don't be surprised if it's a Best Picture Nominee.

Kneecap 2024 Yet another in the series, marked unknown film, which have been promoted by giving free tickets to the sad, lonely and let's be honest freeloaders. Tickets given way on the back of breakfast cereals, Sky subscribers, and various free websites. In my case from my sister who has something better to do, paint her nail, do the dishes wash her hair etc etc etc etc I gladly accept the tickets because i am a freeloader... (freegan is the term i think) it also gives me and my wife and excuse to go out together and socialise as a couple which is alien to both of us. Ps the downside of watching any film with my wife is , she will invariably play with her phone, text, talk, fall asleep etc etc . She can't do that in the cinema. Although she an and does fall asleep. PPs if I'm watching a film with my wife, I prefer not to .... because of the above, or if god forbid i am tired I bugger off to bed safe in the knowledge that i will catch up later. What of the film I hear you all ask..... NOT. These free film are usually A - low budget British films, B - featuring unknown writers, actors etc C - or maybe one star to draw in the punters D - destined to be in the bargain bin of the Video store (or modern equivalent the 1am slot on channel 5, or lost forever on the dodgy firestick of life) E- Embarrassing and will be lucky to make their money back on the cost of production. F - actually quite good.

Saw this on a secret screening, initial synopsis had me thinking, "oh I will be out the door in the first 15 minutes", but no, strong performances from all involved makes this an often funny, somewhat dramatic and rollercoaster of a movie following the unlikely events that end up forming the Irish Hip-Hop trio Kneecap. It is easy to caveat this with "it will not be for everyone", which it will not be, many will not like the drug use, or the language, its context and suitable for the setting, and Kneecap uses these in balance to provide laughs along the way, as well as what has to be one of the funniest sex scenes in a long while.

It is interesting that the film is produced in a way that echos the point of the film: we won't engage people enough to learn and be passionate about something if we use the same old stale approach. This film tackles important and weighty issues such as language and culture lost to colonialism, sectarian division, and violence; but incredibly with great depth, thoughtfulness, humor and straight-up raunchy fun. It is the kind of film that has you laughing in the moment then continuing to unpack the layers long after you leave the theater. Kneecap's music was also very accessible and fun, and the band members (bad as they are!) connect wonderfully. It is hard to believe they hadn't acted before because they held their own alongside the pros.

I can see people watching this and not liking some aspects such as the frantic subtitles and language use, music, or subject matter. Once you get used to these aspects, while navigating a somewhat shaky first act, you can settle in and enjoy the movie for what it is. It is extremely stylistic that focuses on the fun the Kneecap trio is having amidst a serious political backdrop. The more deep you get into the movie, the more it reveals its layers. The beginning is a bit rough as it is setting up characters rather than the historical aspects of the film's setting. Perhaps of the musical trio of Kneecap were more known, then the beginning could be more engaging, although the real life actors do become interesting once you see where the story is going. We get treated to a movie that trusts its audience to understand how sometimes politics can turn into turmoil by people who take small aggravations into more than expected. You can have fun while making political statements, but the danger that festers around you can sneak up without you fully realizing it. Without realizing it, the fun of the movie, while never letting up, trickles in the serious factors thus making the film more deeper than its first act and therefore becoming really good. Kneecap could've used a few more rewrites and some more character development. Perhaps there wasn't anything more to develop. Your inner desire to stand up for what you believe in can make your personally connect to our three leads and fill in those shallow aspects of these characters. There are sequences that you may not fully understand due to the focus on style versus wanting to teach the audience a history lesson. I walked away wanting to learn Irish history on my own and appreciate the story that was told.

source: Kneecap

I went to the Cineworld Secret Screening last night which turned out to be "Kneecap". I'd seen the trailer, so was aware of the film, though I was wholly unaware that Kneecap are a real band, nor that the actors in it were playing themselves. As one of a small number of Irish speakers in Belfast, JJ O Dochartaigh is called into a police meeting as an interpreter, where he meets Liam Og O Hannaidh who is pretending that he only speaks Irish to annoy Detective Ellis (Josie Walker). JJ sees a book of hip-hop lyrics, written in Irish, by Liam and his friend Naoise O Cairaellain. A music teacher, and in a relationship with an advocate for the Irish language, JJ sees the potential for using music to increase awareness. When the trio start to perform, they quickly gain a following, but the content of their lyrics makes them enemies in both the police, and with a dissident republican organisation that are against the promotion of drug use in the city. "Kneecap" is quite the film to show to a group that aren't expecting it. Approximately a quarter of the audience in my screening left within the first 25 minutes, driven away by the explicit drug use, swearing and sex scenes as well as - let's face it - the most egregious problem for some people, subtitles. They missed a film I quite enjoyed (largely because of all those reasons I've just mentioned) but also because, despite the idea of people playing themselves in films being fraught with disaster (15:17 to Paris) the boys here actually do really well. So much so I couldn't believe that they were the actual guys and not full-time actors. There are professional actors in the other roles though, none more high profile than Michael Fassbender, who plays Naoise's father. It's a genuinely funny film, that treats its subject matter with a light touch and tells a complete story. Comfortably the best of the musical biopics I've seen this year.