Kneecap

Some films aim to entertain, while others arrive with the intention of shaking things up, provoking, and leaving a lasting mark. Kneecap belongs to the latter category. It’s not just a musical biopic—it’s an act of resistance turned into cinema, a declaration of principles disguised as pure, unfiltered chaos.

From the very first minute, the film dives fearlessly into the story of the Irish rap group Kneecap, a band that has made the Gaelic language both its identity and its weapon of choice. The staging is vibrant, bursting with energy, and executed with a style reminiscent of Danny Boyle’s best work. The music is, of course, central to the film, but it’s not just an accessory—each song is a battleground, a statement, a way of challenging a system that seeks to erase them.

The film nails its irreverent tone, blending sharp humor with political weight that never feels preachy. There’s satire, irony, and a raw portrayal of Irish youth that feels genuine, free from artificial embellishments. What truly elevates this film is its bold stance on language as a symbol of resistance. And this is where the controversy arises: while some might draw comparisons between Gaelic and other minority languages in Europe, Ireland’s reality is entirely different. Gaelic is neither a marginal language nor an endangered one—it’s a fundamental part of the nation’s identity.

Beyond its message, Kneecap is pure cinema with a distinct personality. Its fast-paced rhythm, dynamic editing, and the freshness with which it brings the band’s story to life make it impossible to look away. It’s not a film for everyone, but for those willing to embrace its energy, it offers an unforgettable ride.

It’s impossible to watch “Kneecap” and walk away indifferent. Directed with explosive energy by Rich Peppiatt, this film isn’t just a biopic about a rap trio—it’s a cultural and political manifesto, wrapped up in frenetic beats and a narrative that pulses with irreverence. The trio—Liam Óg (Mo Chara), Naoise Ó Cairealláin (Móglaí Bap), and JJ Ó Dochartaigh (DJ Próvaí)—not only play themselves with raw authenticity but also lay bare the contradictions of a society still haunted by the echoes of its troubled past. This is cinema as movement, a protest driven by language and sound.

From the very beginning, the film sets its provocative tone. The scene of Belfast students mumbling through “Óró Sé do bheatha abhaile” with palpable boredom, while two of them connect with Kneecap’s subversive hip-hop, perfectly captures the film’s spirit. It’s the perfect metaphor: the Irish language, often treated like a relic of the past, finds new life in the trio’s sharp lyrics and pounding beats. The contrast between a dead tradition and a living language is one of the central themes of “Kneecap,” and the film wastes no time showing how this linguistic revival ruffles feathers on both the conservative and formal activist sides.

The script moves as fast as their rhymes, balancing biting satire with moments of emotional depth. Peppiatt crafts a complex mosaic where every element—from the provocative lyrics to family interactions—reinforces the struggle for identity and self-expression. Michael Fassbender’s portrayal of Arlo, Naoise’s absentee father and a former paramilitary, adds an emotional weight. His absence looms like a shadow over his son and wife, played masterfully by Simone Kirby. These characters aren’t just there to round out the trio’s story—they serve as reminders that the film’s politics aren’t abstract. They’re personal, visceral, and deeply rooted.

What really sets “Kneecap” apart, though, is its bold stylistic approach. The film embraces risk with scattered animations, slow-motion shots, and a hip-hop-heavy soundtrack that mirrors the chaotic energy of Kneecap’s music. A biting voiceover reminiscent of Trainspotting injects urgency into the narrative, which never lets up. Casting the Kneecap members as themselves was a stroke of genius—they don’t just deliver convincing performances but bring a raw authenticity that elevates the film beyond a mere dramatization.

Even though “Kneecap” is packed with absurd and comedic moments—like DJ Próvaí performing in a balaclava or the “BRITS OUT” protest painted on someone’s backside—it never loses sight of the complexities of life in post-Good Friday Agreement Belfast. The “Ceasefire Babies” generation might not bear the physical scars of armed conflict, but they live with its psychological and social ripples. The film tackles this reality with painful honesty. Scenes like the destruction of JJ’s makeshift studio or clashes with radical groups remind us that even in times of relative stability, the fight for space and voice is relentless.

At the heart of the film is, of course, the music. Irish-language rap, blending biting humor with political outrage, is an act of resistance in itself. There’s a beautiful irony in the fact that Kneecap, often criticized for supposedly misrepresenting the Irish language, has done more to popularize it among young people than any formal campaign. Every show, every verse shouted by an ecstatic crowd, is a testament to the idea that culture must evolve to survive.

But “Kneecap” isn’t just about music or language—it’s about freedom. The freedom to say what you want, criticize oppressive systems, and exist on the margins while demanding to be heard. It’s about turning anger into art and trauma into creative power. And the film does all this without romanticizing its characters or glossing over their flaws. Liam, Naoise, and JJ are messy, provocative, and often reckless, but they’re also passionate and undeniably human.

Ultimately, “Kneecap” isn’t a fairy tale. There’s no glorious rise or easy resolution. It’s a film that understands cultural, political, and personal struggles are ongoing, and the real victory lies in refusing to give up. It’s visceral, vibrant, and deliciously chaotic—just like the music that inspired it.

So much fun! Had no idea about this band and couldn't believe they weren't being played by actors. Amazing performances!

Watched Kneecap movie with Ryan at my house. Absolutely loved the energetic editing. The story moved really quick but stills coherent. Music was good and fun. Lot more drug related than I expected. One of the best music movies I’ve seen. Connor 10, normal 9. ☘

[Filmin] A musical biopic that distances itself from the usual traditional and generational portrait to vindicate its characters as protagonists of their own problems, shaking off the traumas of The Troubles to raise other more current problems. Deeply political without being pamphleteering, it has a sense of humor that laughs at all the traditional elements of Irish cinema, and uses the defense of a progressively isolated language to establish its own language, mischievous and carefree, with references to Danny Boyle and a spirit of youthful liberation that, like it or not, has the ability to not leave anyone indifferent.

If you have a problem with a film glorifying drugs and being a bit misogynistic, then you should give “Kneecap” a wide berth. But then you'll also have to live with the fact that you've missed out on a very entertaining movie. Because this “biopic” is original, witty, and charming, and its style reminded me a little of films like “Trainspotting.”. The three leading men do an excellent job, especially considering that they are not trained actors. And the movie is never boring. Accordingly, I can also give it a strong recommendation.

Banger after Banger.
Learned a lot about kneecaping.

I had no idea Kneecap was playing themselves in the movie! The raw authenticity was insane. I thought they were just some Irish actors I didn't know. Fuck, this is a biopic.

Wild ou não?

Kneecap offers an engaging, though heavily fictionalized, portrayal of the Irish rap group’s origins.
The film follows the trio from their humble beginnings, capturing their rebellious spirit as they channel their frustrations through hard-hitting lyrics.
Alongside their rise to fame, the film humorously portrays the band’s creative process, often enhanced by drug-induced sessions that lead to some of the funniest moments in the film. As they navigate the challenges of the music industry, a complex relationship unfolds between one of the rappers and a girl from the opposite political spectrum, a Loyalist, highlighting the tensions between Republican and Loyalist views.

While the film’s historical accuracy may raise eyebrows, it captivates with its vibrant characters and humor.

Fans of music biopics and character-driven comedies, especially those interested in stories of political and cultural defiance, will find Kneecap a compelling watch. This film will be popular with people who like Trainspotting, Twin Town and The Commitments.

Kneecap reminds us of what rap aimed to do before it became commercialized. It shows the rise of independent music with clear political messages that fit Irish culture. While there are some cheesy moments, the film's look at Irish language discrimination and the rebellious spirit is interesting. The music grows from a silly first demo something exciting, and the writing keeps it engaging. The humor could be better, but it reflects cultural differences comedic taste.

*Every word spoken is a bullet fired for Irish freedom. I reckon everyone has fired enough bullets by now, without the need for any more metaphorical ones. Maybe not firing the bullet should be the bullet.*

'Kneecap' is fairly entertaining.

It's impressive how good the acting is given it stars the musical trio in acting debuts as basically themselves. Michael Fassbender adds star power, could've used more of Lalor Roddy (great in 'That They May Face the Rising Sun', fwiw) mind. Other pluses include the camera work and the music; never heard of Kneecap until now, though their stuff is merged in nicely. The humour is amusing too, arguably the movie's strongest element to be honest.

With those positives noted, I didn't find the story all that interesting - and there's a lot of convenience involved for it, as every character has a (too) direct connection to everything else. The main characters are a bit cringe too in moments, though the humour does admittedly just about shield that for much of the run time.

Overall, I'd recommend it. It has enough about it, for sure.