User reviews

I saw this movie tonight as AMC's Screen Unseen mystery movie, so I knew less than nothing about what I was walking into. Whether you like rap or not, see this movie for the incredible cinematography. Ryan Kernaghan deserves awards for this movie. I've never thought to look up a cinematographer UNTIL seeing this movie. Spectacular.

The story itself is very powerful and makes you truly respect Irish people and their love for their country, while making a lot of laughs and not taking itself too seriously. It delivers a powerful message of the importance of heritage. If you're a proud Brit, might be best to sit this one out.

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.

Brilliant comedy and great music. Never knew I was a fan of Irish hip-hop. As a Belgian, I certainly missed some of the specifically Northern Irish jokes, but there are so many that the film remains hilarious. Think Trainspotting, but more cheerful and with a school teacher and background politics.

The energy and charisma of the Kneecap lads is truly infectious. Their performances, fuelled by a healthy dose of ketamine, bring very funny film scenes.

But beyond just the music, the film does an excellent job of weaving in the complex social and political realities of life in Northern Ireland. The film depicts the lives of contemporary Belfast youth, who know the Troubles only from stories but have never experienced them themselves. The film tackles everything from the fun of substance use to the generational trauma of the Troubles with a blend of humour and poignancy.

Overall, Kneecap is a rollicking good time that left me with a newfound appreciation for hip-hop and N-Ireland. This film is an absolute must-see, whether you're a fan of hip-hop or not. It's a raucous, heartfelt celebration of music, creativity, and the power of finding your voice, even in the midst of adversity. And now I suddenly want to learn Irish and perhaps visit Ireland too.

I had the pleasure of watching this movie at a film festival in Poland. I felt compelled to recover my IMDb account credentials just to share my thoughts because I believe the current reviews do not do it justice.

No other film at the festival evoked as much laughter from the audience during the screening. While there were many remarkable films, this one stood out as my favorite. From what I've heard, the audience reaction at Sundance was similarly enthusiastic.

If you're considering watching this movie, disregard the reviews below. True, it isn't an arthouse film, and it does advocate drug use, strong language, and police brutality. However, it is an absolute joy to watch. It conveys profound messages about the quest for freedom, self-expression, and defiance.

Most importantly, this movie is authentic. The main characters are played by the musicians themselves (and they do a fantastic job). It may not be factually accurate, but it excels at conveying the feeling and authenticity without being phony or pretentious.

This movie is pure punk, wrapped in a colorful and sweet package. I higly recommend it.

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.

Greetings again from the darkness. The Troubles of Northern Ireland were a 30-year political and social conflict that officially ended in 1998 with the Good Friday Agreement. Even today, the pain and memories and divisions remain. Writer-director Rich Peppiatt's film is set in 2019 (West Belfast) and is billed as a "mostly true story" involving controversial hip-hop group Kneecap and the push to make Irish an official language. Early on we are told, "A country without a language is only half a country." A circumstantial fluke brings music teacher JJ (DJ Provai) into the world of self-described "low life scum", Naoise ( Moglai Bap) and Liam Og (Mo Chara) - drug dealers and wannabe musicians. Performing their raps in native Irish tongue, the trio inexplicably and by happenstance, becomes the unlikely face and voice of the language movement. The resistance they face is stout and sometimes dangerous ... yet possibly they remain their own biggest hurdle to success.

Another plot line occasionally rears its head - Naoise's father Arlo (Michael Fassbender) has been on the run since Naoise's childhood and is now a paramilitary figure pursued by the police, despite family efforts to convince he's dead. Popping up now and again, Arlo offers guidance and words of advice to the boys who face oppression and opposition from the conservative and proper forces fighting their rebellious nature and pursuit of radical change.

Adding to the interest level here is that all three members of Kneecap play themselves. With no acting experience, they are convincing enough in telling (mostly) their own story in comedy-drama style. They are also experts at flowing f-words. We have witnessed Irish chaos many times, yet director Peppiatt and the trio generate an energetic cheekiness that plays well in establishing cultural and class differences. This may not be the first story of drug dealers becoming lyricists, performers, and social influencers, but we certainly appreciate the moments of authenticity proving yet again the power and influence of music (even if the bouncing subtitles are a step beyond challenging). The 2022 Identity and Language (Northern Ireland) Act affirmed Irish as an official language, and Kneecap shows punk rebellion will carry on. Oh, and ask your friends, "What's the craic?"

In theaters August 2, 2024.

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.

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.

I saw Kneecap today in one of the best multiplexes in the UK. Interestingly, the entire audience (all 10 of us) were in our sixties and seventies and there was total engagement and no-one left before the lights went up. I spoke to one group of about 5 and they were all in agreement about how strong the film was. I lived and travelled in NI and Eire (as was) during the early 80s so truly appreciated the quality of the script. The acting was exceptional and the dark humour was right up my street. I'm not a big hip-hop fan and you certainly don't need to be to appreciate the film, but I've always rated Eminem and Die Antwoord very highly, and it's clear to me that the the latter were clearly an influence on the sound and style of Kneecap as an outfit. I will get this on Blu ray in due course, but I think I will be the only person in the household who 'gets it'. Hopefully my children will get at least some of the cultural references and enjoy the kick-ass soundtrack. If you get the opportunity, do give it a go as this film illustrates just how well a piece of art can be created using a very limited budget and authentic actors. Based on a true story.

Ireland's official submission for Best International Film. Sex, Drugs & Rap - and Revolution. Rich Peppiatt's cheeky movie is based on the true story of a trio of Northern Irish rappers collectively known as Kneecap. They distinguish themselves from other UK musicians by singing their lyrics in Irish. Unwittingly at first, they become a rebellious symbol in their land in West Belfast in the "post-war" period after The Troubles.

The movie stars the actual members of the group as themselves- Naoise Ó Cairealláin, Liam Óg Ó Hannaidh and JJ Ó Dochartaigh. Peppiatt's screenplay (with input from the band) is pretty loose story-wise by design. The Director uses mixed media and plays with the film form in enjoyable ways. The Kneecap members are natural performers which brings a scruffy authenticity while also being impudent and refreshingly self-mocking. There are professionals in the cast including Josie Ellis, Jessica Reynolds (as Liam's spiky British girlfriend) and a very good Michael Fassbender as Naoise's dad who was an Irish revolutionary.

What gives the movie its spark is that this all took place during a period when there was a movement to force the British government to recognize Irish as an official language of Northern Ireland. Kneecap's rude and crude lyrics took on a whole new meaning and importance. Merely singing those songs in public became an act of civil disobedience. The main story-line is strong enough that some of the more obvious "scripted" movie moments stick out as being unnecessary. Fortunately, the anarchic energy makes up for those missteps. KNEECAP is an out and out banger.

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.

Watched this at the 2024 Sundance Film Festival.

Honestly, this one didn't do it for me. Kneecap has received lots of praise from the festival and while there are some strong moments, the movie as a whole is pretty basic, thin characters, and the emotional connection isn't as strong as I would have liked.

Irish and the UK conflicts are interesting and the movie explores the musical duo Kneecap and the language conflicts between English and Irish. As a whole, the narrative does have some interesting concepts but it feels like a wannabe version of Trainspotting which causes the narrative to feel too thin and becomes really predictable. The soundtrack is pretty good and the performances from the cast members were solid, although didn't fully wow me. Michael Fassbender was good as usual.

The editing choices is pretty annoying. Many of the characters have some interesting traits but unfortunately, I didn't fully connect with them and I found most of the characters to be too thin and pretty annoying. Maybe it's because I am not Irish, I don't really have strong attachment to the character's purposes and the motivations.

The direction was okay and there are some clever humor dialogue moments. But also, some of the dialogue felt a bit forced. The camerawork was basic and I did enjoy some aspects about the movie but not on an emotional level.

Overall, I can see why it was well-received at Sundance but it wasn't for me.

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 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.

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.

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.

It captures post-troubles teenage life in the North perfectly. The background of the parents and the love life is something that really spoke to me, there were parts I was watching which I thought were a documentary of my own life, having been born in the North and exposed to the elements portrayed in the film. This is a modern day wind that shakes the barely and how the continuation of the struggle is not with bullets but with culture. The Irish language is for everyone and is one uniting factor that should be promoted on all levels by all sections of society. A fantasic film and one of a kind.

'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.

Balancing comedy, gritty themes, and a back story few outside of Ireland will be unfamiliar with. I use the word balance intentionally as that is the gold in this film. Too much comedy would have weakened the underlying messages, too much politics would have alienated audiences. By striking the fine balance in Kneecap, the makers have created an entertaining AND poignant piece.

Fassbender delivers a dark performance that plays well with the comedic, rowdy show from the Kneecap boys. Truly hard to believe the band are acting for the first time! Also special mention to Simone Kirby in her role as Dolores, who sparkled in the early scene with the younger characters, was crushed and sad through the middle, then dug in and found courage for her boy at the end. What a journey!

Cinematography - can I talk about balance anymore? Yes I can.... Grimy reality, sparkling stage performances, on the edge, trippy drug scenes and more. All balanced well to deliver a film that felt real.

All in all, a fantastic watch. Deserves every accolade.

I liked this film. It Was different. Good characters and acting for alot of newbies. Soundtrack is catchy too.

It is very juvenile overall. But it has a good message in it. If people are very serious about their Britishness, then they'll hate this movie 😆

Alot of drug use in it. This let's down what the band is really at its heart. But, it's still a great story and hilarious at times.

While this is a Northern Ireland funded film, it breathes some fresh air into the overall Irish film scene (which has been boring the last decade or so).

I'd like to see a regular TV show on these characters. It made the city of Belfast look great.

My 20-something son who lives in Europe recommended this to me, and it rocks. It's a short film that moves briskly, and I love the ethos.

I watched this on a Lufthansa flight from Munich to the states, and my seatmates on both sides of the aisle cued it up after watching over my shoulder. (Thankfully there were no children due to the brief scenes of nudity.)

The actors are the band! It may be "heavily fictionalized," as the disclaimer says, but the story rings true: youth, rebellion, sex, drugs and rock and roll. As my son said, this movie will make you want to rap about your own life. Even better, it will make you think that you can.

It always raises an eyebrow, when a new band (and Kneecap are still new to most) branch out into other mediums quickly. We're programmed to think people should stay in their lane, but that's not very Kneecap. This rap trio are, militant for want of a better word. This is their origin story. There's drugs, despondency, absent fathers, police, paramilitary and the general struggles of being oppressed. They're Irish you see. Very Irish, they rap in Gaelic, but that's getting ahead. This, although an origin story of a band, is more than that. It's the struggle of a people to retain their identity and language is important in that. Young Naorise and Liam (playing themselves) are taught at an early age the importance of language by Naorise's dad, Arló (Michael Fassbender) a staunch Irish Republican. This bonds the pair, not just with each other, but with JJ (also playing himself). It's gritty, urban concrete graffiti filled streets, local pubs and high-rise flats. Like Trainspotting, but more socially political. As the three start to work out the songs in JJs garage, their underground project starts to rear its head and word gets out. This gives JJ, who's not only older, but a teacher, a problem. Their lyrics aren't exactly PC and so, donning a balaclava in Irish colours, they take to the stage. Standing out I'll say doesn't seem to be a great thing to start. It brings them to the attention of squabbling paramilitary forces, the cops and the pro Irish language campaigners all of who struggle with anti British lyrics mixed with MDMA references. It's a complex story, made accessible by some genuinely interesting people. Whatever you think of the politics, this is really engaging and a well made film, about a conflict that I think many think is in the past. I'm not a Kneecap fan, but the music is visceral and the beats are brilliant. They tell the story really well. This film doesn't change my mind about them, but it does add a lot of context to the group and that undeniably makes them a much more interesting prospect.

I have to tell you I've known of the lads for a couple of years through some of their music and TV interviews with VICE about the North of Ireland. I knew it was an Irish language film and had gotten a lot of praise at Sundance.

So I thought it will be an irreverent Sex drugs, and hip-hop is part of it is that but it's so much more It's irreverent, it's thoughtful, It's out and out hysterically funny and very poignant and strangely uplifting. What it has most going for it is heart and authenticity. The three lads never acted before they are great. Having Michael Fassbender in the film is always a plus one of Ireland's best actors. A film that can be political you can learn a little history and what it means to self identify and hold onto your indigenous language and be this much fun is a winner for me.

I'm going to watch it again- EXCELLENT!!! Reps much about Indigenous Oppression- by the Crown.

Dearest Lads, I don't to write about it and spoil it - for the world...

Just writing to have a wee minor correction: The story line and script is 100% on point... it's a wee correction.

For the love of Revolution and personal evolution- Please capitalize the I for Indigenous in the last scroll of the credits.... Please. I'm not a grammar or punctuation police - I am a proud Indigenous Grandma.

Carry on- Rap dance and speak truth to power!!

THANK YOU! Many many blessings and safe travels!

Medicine.

-What do you consider fun?

-Fun, natural fun. Kneecap bre.

These two kids plus manchild is about FUN as much as anything else. Their music, attitude, technique, style is PURE, TOP QUALITY FUN. In a very, very unique way. I can see them going a long way.

But then, it gets bigger than that. Seems like Northern Ireland is that place where you're not supposed to have that and nobody else ain't try to hear it. Fun is out of the picture, anything natural is out of the picture, it's explosive.

There you have it, a contemporary radical doesn't have to be politically correct (did they ever?), just free-minded enough to kick back when their FUNdamental rights are denied. Kneecap gets right back in your face the only way they know how, frigging with anyone and anything that stands in their way, therefore become political.

Love from Greece, we're looking forward to your gig Summer 25.