By Matthew Moorcroft

Highest Recommendation

• Directed by Rich Peppiatt
• Starring Naoise Ó Cairealláin, Liam Óg Ó Hannaidh, JJ Ó Dochartaigh, Michael Fassbender
• R

I’ll be the first to admit that I’m not exactly fully verse in the complex geopolitical landmine that is Northern Ireland. My experience with it is completely tangential and mostly through screens, news, and media; I’m witnessing it mostly through others eyes rather then my own. It’s interesting though how much of much of the struggles that Northern Ireland faces – mainly as a product of the British Empire – is basically the same as much of the rest of the world; colonialism in it’s final, depressing stages.

Kneecap is about all of this, obviously. I mean, why wouldn’t it be? At this point making a movie with the Irish language dead front and center as both a plot point and in it’s very construction means it is a political statement regardless of it’s initial intentions. It’s a movie about the overwhelming power of language and how it can influence ways of thinking, their routines, the way they interact with people. It’s also about how those systems that remove languages, or prevent them from being spoken, contribute to the systems of power that work to oppress those they deem lesser.

It’s also about how the Irish language is really fucking sick, actually.

Make no mistake either, Kneecap, like all great pieces of conscious art, is also determined to be as entertaining as possible. Traditional biopic this is not, instead Kneecap and newcomer director Rich Peppiatt take a cue from Edgar Wright and create a visually dynamite, constantly evolving, and always hilarious romp that understands to not take itself too seriously unless it absolutely has to. Crude animations line up the screen to represent brainstorming, only to be replaced immediately by surrealistic drug sequences that feel like something of a Fear and Loathing in Las Vegas bit (there is a moment done entirely in claymation and it’s as hysterical as you would think). His directing work is immediately standout worthy in a year of great debuts, and while it’s curious to see whether or not this style will continue into his other projects, there is a clear visual craft here that is admirable and sublimely handled.

The real revelation here might actually be the leads themselves though, who in a strange turn of events play themselves. It’s clear that Kneecap isn’t supposed to be a 1-to-1 of actual events – a lot of is purposefully manufactured to fit a more over the top tone and a filmic structure – but the trio meets their own rambunctious tone with glee. All three of them are unbelievably charismatic, layered, and charming in their own way that you forget they aren’t exactly professional actors themselves. It probably helps that Peppiatt himself, a fan of the group, directed several of their music videos before this, so his ability to capture their manic energy isn’t surprising.

In fact, the trio of leads are so good that they stack up to the rest of the more professional, high profile cast around them. A wickedly good as usual Michael Fassbender aside, the supporting players of a multitude of Irish regulars like Simone Kirby and Josie Walker populate the feature with an authenticity of the country, even if many of them are playing purposefully comical antagonist figures meant to represent the worst of the UK’s politics. However to me it ended up being a surprisingly touching turn from Jessica Reynolds as a Protestant girl who falls for Liam. She’s in a lot of ways the beating heart of the picture and ends up showcasing much of what the film is thematically interested in.

It’s impressive that Kneecap has so much to say in so little time, but like the best of hip hop, it gets across it’s message bluntly, loudly, and with production so dynamic and interesting that you can’t help but really appreciate it. It’s constantly uproarious, in your face, and never stopping to wonder if it’s offending you cause it ultimately doesn’t really care. That’s not really the point. It’s music that gets to the heart of young people by just cutting through the bullshit and getting straight to what they need to hear. And frankly, I can’t hate a movie that does all of that while also sticking it to Margaret Thatcher at the same time. Hell yeah.