Kneecap
Introduction
I have developed a liking for provocative cinema that has traces of anti-establishment to accompany the narrative. This isn’t because I necessarily like to sway the rebellious way, but because the drama does offer an unpopular perspective that is worth pondering on. And Kneecap, Ireland’s Official Submission to the Oscars of 2025 does exactly that. It does offer a searing political commentary with traces of black humour that makes for a superbly entertaining and provocative watch. Also, I must admit that this film does need a little context to the political movement in West Belfast, something that took me a while to warm up to. The drama does present a tongue in cheek humour early on in the film, with its opening visuals of supposed vehicular blasts from Belfast with a voiceover saying – Most stories featuring Belfast open like ‘this’ (indicating the blasts), but this ain’t that story. The line is enough to draw you into the drama that wishes to tell its viewers that while the tone is that of a black comedy, it does have heavy political and social influences in the drama to ponder on, all in the wake of a real-life story of a hip-hop group that swayed nations and moved hearts.
Story & Screenplay
The prime conflict on which Kneecap is mounted is on is that between a face-off between the Irish and the Brits over a language conflict in the area. Needless to say, Irish is a dwindling language in the area despite it being local, while the involvement of the Brits has triggered a movement (even with the locals, some Brits) of the widespoken language being that of English. And the story that essentially focuses on the lives of the actual members of the hip-hop group is ridden with provocative humour that entertains and holds fort for the locals. There is an inherent humour even as you are introduced to the characters one by one, be it the hilarious interrogation sequence at the start that eventually marks the start of a budding friendship, or the little context set with respect to the family of a character whose father fakes his own death to avoid the Brit authorities. While there is humour, there is also a burden of sadness, a virtue that is never really explored in this trippy drama for the ages.
The proceedings are interesting given that the politics of the land is always used as an underlying theme in the drama, even as the characters run into issues with the law. But having said that, there are so many layers to the drama that refuses to lay ‘dead’. This basically means that there is something or the other transpiring onscreen at any given point of time, even as the writing dwells on issues of the youth. For instance, the formation of the hip-hop group itself was presented as a form of challenge given that folks in the country weren’t accustomed to hip-hop, and that too in the local Irish language. Needless to say, the language here is used both as a medium and a character in the film that uses hip-hop as a tool for the revolution, much like in other parts of the world (say for African-Americans in USA).
The writing also presents an internal threat in the form of a Radical Republicans Against Drugs(RRAD), a paramilitary group that wrecks havoc on individuals that resort to drugs. But by staying true to the tone of the drama, the threat here is presented in a frivolously hilarious manner, almost making a point of how unimportant and ridiculous the group is, even as Kneecap (the hip-hop group formed by the trio) finds patronage. Some of the personal issues in the lives of the group members do lead to some interesting conflicts that further flutter the landscape of laughter in the drama. At every beat in the drama, the writing coaxes its viewers to indulge in the chaotic lives of individuals that is alternately also presented like a chaotic, trippy rock-concert with a heavy dose of political commentary. The end threatens to discourse from its original tone while double bluffing the viewers in a sea of laughter. It also lays a strong demarcation with respect to the politics in the drama on a morality scale that was heartening to witness. The screenplay is one of the best that I have witnessed this year in a foreign language film!
Dialogues, Music & Direction
The dialogues are sprinkled with dark-humour and presented as a satire that tickles your funny bone throughout the course of the drama. The music is essentially the backbone of the drama, and at multiple instances, I found myself grooving to the hip-hop beats of the music that is excellent while coupled with some rather provocative lyrics. The BGM is trippy and blends beautifully with the chaotic aesthetics of the drama. The cinematography comprises of frames that are trippy, and coupled with some excellent transition cuts and match cuts that combine to create a beautifully constructed chaotic ride for the ages. The colour grading too joins forces to add streaks of madness to the drama without losing sight of the internal layer of politics that is the driving force of the drama. Director Rich Peppiatt masterfully constructs a provocative drama that is used as an important tool of anti-establishment in the most hilarious manner possible. The creative decision to use the chaotic chronicles of the hip-hop group was an excellent one, that invariably added a mad-group of characters in the mix that were important variants of the prevalent revolution in the vicinity. The direction is excellent while never loses focus of the core politics in the drama.
Performances
The performances are uninhibited and unapologetic in every sense of the word. Michael Fassbender as Arlo and Adam Best as Doyle have their moments to shine. In fact, the duo are a part of that one hilarious scene at the end that had me in absolute splits. Simone Kirby as Dolores is nicely understated and showcases her vulnerability wonderfully well. Jessica Reynolds as Georgia delivers an unhinged and chaotic performance that reeks of eccentricity, wherein she doesn’t hold back one bit. She is excellent to witness here. Josie Walker as Detective Ellis is intimidating and definitely gets a fair share to impress, which she does effortlessly. The creative decision to cast the actual members of Kneecap was a great one. DJ Provai, Mo Chara and Moglai Bap, all play basically themselves and collectively create chaos together that is provocative and hilarious, both at the same time. It was a treat to witness the magic onscreen, featuring the trio whonfeed off each other and make merry, both in chaos and comedy.
Conclusion
As a part of our MAMI coverage, Ireland’s Official Submission to the Oscars of 2025, Kneecap is a provocative piece of art packaged in a riotous political satire for the ages. This drama is Highly Recommended from my end.