August 1, 2024
FILM: KNEECAP
DIRECTED BY: RICH PEPPIATT
STARRING: MOGLAI BAP, MO CHARA, DJ PROVAI
RATING: 3 ½ out of 4 stars
By Dan Pal
After spending a few weeks traveling abroad in Europe this highly-energetic and accomplished film about language and culture was the first I had the chance to view since coming home. What makes it particularly resonant to me is that, as an English-speaking American, I’m fully aware of my own expectation for people in other countries to speak my language. Everywhere we went, from Italy to Spain and Portugal, it was never hard to find people who spoke English. In fact, many establishments clearly cater to tourists with signs and menus in English. Kneecap, a new film from writer/director Rich Peppiatt, explores the fact of countries losing their native language and cultures and stands to proudly encourage those to fight for their heritage.
In this case, the country is Ireland. In a few early flashbacks, young Naoise and Liam are two friends growing up in Belfast. Naoise is being raised in a household that teaches him Ireland’s native language. His father, Arlo, played by Michael Fassbender in a fairly small role, is a bit of a rebel who “disappears” from society for somewhat unclear circumstances. Naoise and Liam grow up to be rebels themselves finding trouble in and around the city’s vibrant club scene. They hold fast to their native tongue and are given special attention by a teacher/reluctant interpreter/musician, J.J., who discovers their written and unrecorded hip hop lyrics. Moonlighting as DJ Provai, he joins the others as they become a controversial rap trio.
There’s a light, airiness to the opening of the film which is a bit deceiving given where some of the storyline goes. Peppiatt perfectly captures a sense of youthful energy through the brisk pacing of the editing and fast moving cinematography. Both call to mind similar youth-oriented, rebellious films such as Trainspotting and Run Lola Run. While there is plenty of cleverly written Irish hip hop music (with English translations on the screen) the score is a mesh of techno, R&B, and traditional orchestrations making for a pretty eclectic sonic experience for viewers. (Interestingly, and a bit ironically given the film’s themes, traditional Irish music doesn’t make much of an appearance until the film’s final scenes.)
Because the big struggle within this subset of people is holding onto the language of Ireland vs. “the Queen’s English,” the film juxtaposes scenes spoken in both languages. Since the expectation is often that Irish people speak English, hearing the native tongue is startling and refreshing. There’s also an effective use of the colors of the Irish flag in various scenes that further remind us of the country’s independent heritage.
On the surface, Kneecap could be sold as “two guys entering the rare world of Irish hip hop” but the film is much more than that and frankly, those expecting this to be a light hearted Irish comedy will be somewhat disappointed. While the breeziness of some of the film’s early scenes suggest youthful energy, there is an undercurrent of social and political issues that pervades much of Kneecap’s narrative and shifts in tone. Outside of the protests featured, in which the Irish march to keep England out of Ireland, there are also the issues of drugs, censorship, and the worldwide loss of native languages that seem to be Peppiatt’s other concerns about the then current (2019) state of affairs in the country.
Still, the film has been a bit of a crowd pleaser, winning the Audience Award at the Sundance Film Festival’s NEXT competition. (Essentially for more experimental/alternative cinema from up and coming writer/directors like Peppiatt.) DJ Provai is particularly good as the teacher turned rapper. There’s a growth to his character that is more pronounced and perhaps more significant than the two younger characters of Naoise and Liam. While he struggles attempting to teach students traditional Irish, he finds his true voice as a powerful proponent of national heritage. He’s a bit like Walter White on Breaking Bad moving from the classroom to something which allows for a greater personal and societal impact. (Although J.J. is a bit less destructive than White!) Simone Kirby is also very good as Dolores, Naoise’s mother. There’s an intensity to some of her scenes which captures some of the deepest emotions expressed in the film. Though we don’t see a lot of Fassbender, his presence is felt throughout the film.
Be warned though: there are a few somewhat graphic sex scenes and some violence which might turn off some viewers. Overall though Kneecap is a pretty dynamic film that successfully attempts to be entertaining while socially relevant.
Kneecap opens in theaters this week.
FILM: KNEECAP
DIRECTED BY: RICH PEPPIATT
STARRING: MOGLAI BAP, MO CHARA, DJ PROVAI
RATING: 3 ½ out of 4 stars
By Dan Pal
After spending a few weeks traveling abroad in Europe this highly-energetic and accomplished film about language and culture was the first I had the chance to view since coming home. What makes it particularly resonant to me is that, as an English-speaking American, I’m fully aware of my own expectation for people in other countries to speak my language. Everywhere we went, from Italy to Spain and Portugal, it was never hard to find people who spoke English. In fact, many establishments clearly cater to tourists with signs and menus in English. Kneecap, a new film from writer/director Rich Peppiatt, explores the fact of countries losing their native language and cultures and stands to proudly encourage those to fight for their heritage.
In this case, the country is Ireland. In a few early flashbacks, young Naoise and Liam are two friends growing up in Belfast. Naoise is being raised in a household that teaches him Ireland’s native language. His father, Arlo, played by Michael Fassbender in a fairly small role, is a bit of a rebel who “disappears” from society for somewhat unclear circumstances. Naoise and Liam grow up to be rebels themselves finding trouble in and around the city’s vibrant club scene. They hold fast to their native tongue and are given special attention by a teacher/reluctant interpreter/musician, J.J., who discovers their written and unrecorded hip hop lyrics. Moonlighting as DJ Provai, he joins the others as they become a controversial rap trio.
There’s a light, airiness to the opening of the film which is a bit deceiving given where some of the storyline goes. Peppiatt perfectly captures a sense of youthful energy through the brisk pacing of the editing and fast moving cinematography. Both call to mind similar youth-oriented, rebellious films such as Trainspotting and Run Lola Run. While there is plenty of cleverly written Irish hip hop music (with English translations on the screen) the score is a mesh of techno, R&B, and traditional orchestrations making for a pretty eclectic sonic experience for viewers. (Interestingly, and a bit ironically given the film’s themes, traditional Irish music doesn’t make much of an appearance until the film’s final scenes.)
Because the big struggle within this subset of people is holding onto the language of Ireland vs. “the Queen’s English,” the film juxtaposes scenes spoken in both languages. Since the expectation is often that Irish people speak English, hearing the native tongue is startling and refreshing. There’s also an effective use of the colors of the Irish flag in various scenes that further remind us of the country’s independent heritage.
On the surface, Kneecap could be sold as “two guys entering the rare world of Irish hip hop” but the film is much more than that and frankly, those expecting this to be a light hearted Irish comedy will be somewhat disappointed. While the breeziness of some of the film’s early scenes suggest youthful energy, there is an undercurrent of social and political issues that pervades much of Kneecap’s narrative and shifts in tone. Outside of the protests featured, in which the Irish march to keep England out of Ireland, there are also the issues of drugs, censorship, and the worldwide loss of native languages that seem to be Peppiatt’s other concerns about the then current (2019) state of affairs in the country.
Still, the film has been a bit of a crowd pleaser, winning the Audience Award at the Sundance Film Festival’s NEXT competition. (Essentially for more experimental/alternative cinema from up and coming writer/directors like Peppiatt.) DJ Provai is particularly good as the teacher turned rapper. There’s a growth to his character that is more pronounced and perhaps more significant than the two younger characters of Naoise and Liam. While he struggles attempting to teach students traditional Irish, he finds his true voice as a powerful proponent of national heritage. He’s a bit like Walter White on Breaking Bad moving from the classroom to something which allows for a greater personal and societal impact. (Although J.J. is a bit less destructive than White!) Simone Kirby is also very good as Dolores, Naoise’s mother. There’s an intensity to some of her scenes which captures some of the deepest emotions expressed in the film. Though we don’t see a lot of Fassbender, his presence is felt throughout the film.
Be warned though: there are a few somewhat graphic sex scenes and some violence which might turn off some viewers. Overall though Kneecap is a pretty dynamic film that successfully attempts to be entertaining while socially relevant.
Kneecap opens in theaters this week.