Unprecedented Real-Time Biopic on Irish Rapper Sensations ‘Kneecap’ – You Won’t Believe It!

When Rich Peppiatt, a seasoned filmmaker, initiated his project with the three-man Belfast hip-hop ensemble known as Kneecap to create a film about their unique journey as Irish-speaking rappers, he jokingly named their WhatsApp chat group “Kneecap Go to Hollywood.”

“We were casually discussing these ideas over drinks at the pub back in 2019,” Peppiatt recalls. “All of it seemed like a distant dream at the time.”

Fast forward four years, and it’s quite astonishing that Peppiatt finds himself in a hotel room near the Sunset Strip with band members Móglaí Bap and DJ Próvaí, discussing their collaboration on the film “Kneecap.” (Unfortunately, the third member, Mo Chara, was unable to join them in Los Angeles.) The film, a spirited narrative that encapsulates the trio’s energy and spirit in the vein of “A Hard Day’s Night,” “Purple Rain,” “Spice World” and “8 Mile,” was an audience favorite when it debuted at the Sundance Film Festival earlier this year.

“Of course, we were ambitious,” notes the director, “but we could never truly fathom that everything would pan out so splendidly.”

English is still the primary language in Ireland, and the film portrays the rappers clashing with radio hosts, local political factions, and various authority figures, in part due to their use of the Irish language and their provocative lyrics that mix anti-colonialist sentiments with hedonistic calls for drug use and partying.

“A majority of the movie’s pivotal moments are grounded in reality,” Móglaí Bap says, commenting on the film’s depiction of their rise to fame.

“The more mundane aspects of the film are the ones that have been exaggerated,” adds Peppiatt.

DJ Próvaí, as shown in the film, was indeed a school teacher when the group formed in 2017, which led him to wear a face-concealing balaclava on stage to maintain his anonymity. (And, as depicted in the movie, he did once drop his trousers to reveal the phrase “Brits Out” scrawled across his rear.) However, Móglaí Bap’s father, portrayed in the movie by Michael Fassbender, was not a fugitive.

“The characters depict our backgrounds and the people we grew up with,” Móglaí Bap elaborates. “So, it’s not just our story, but everybody’s stories. For instance, most of my classmates’ parents were former IRA members. So, it’s not always our personal tales, but it represents the collective narrative of Belfast.”

The band didn’t initially aim to be the catalyst for a movement to rekindle the Irish language, but their headline-grabbing behavior and natural charisma unintentionally thrust them into that role. Initially, the band simply wanted to communicate in the same way they would amongst themselves, as friends.

“When you speak a language that isn’t widely spoken, you feel a sense of pride and honor, and you want to represent that language,” says Móglaí Bap. “But when we started, we were simply doing it for fun. We never imagined that anyone outside of Belfast would even listen to our music. We didn’t even intend on forming a band, as there hadn’t been anything quite like it before.”

“Kneecap” underscores the crucial role language plays. There’s a significant difference between saying “Northern Ireland,” the country’s official name as part of the United Kingdom, and “the north of Ireland,” a term used by those who advocate for a unified Ireland in opposition to colonial rule.

“I found it incredibly inspiring and political, the notion of renouncing the language of the country you live in,” says Peppiatt, explaining his initial interest in the band for his first narrative feature. “To declare, ‘I not only reject this country I live in, but I also refuse to accept its language.’ It was a potent statement about their beliefs.”

However, Kneecap’s political aspirations aren’t limited to Ireland. The group has consistently expressed its support for Palestinians. Cast members from the film even attended a pro-Palestinian rally in Park City, Utah, during Sundance.

“We don’t perceive speaking about the situation in Palestine as a major political act,” says Móglaí Bap. “We see it as standing up for human rights, for people being bombed from the sky. That’s what’s happening in Palestine. There are war crimes being committed. And I believe, when war crimes are being committed, you should voice your opposition.”

“What you need to understand is that there’s always been a connection between the people of Ireland and the people of Palestine,” adds Peppiatt. “That sense of being oppressed by a colonial power is something that has been a part of the Irish experience for 800 years. I understand it’s a sensitive topic in America and supporting it can be seen as controversial, but in Ireland it’s the norm. Supporting Palestine in this situation is the default stance.”

Peppiatt is an ex-tabloid journalist whose 2011 resignation letter became a news story in itself. He produced a satirical documentary, “One Rogue Reporter,” in 2014 about his decision to quit the industry amidst the phone hacking and ethics scandals that were shaking up the British media at the time.

After transitioning to writing and directing for television, Peppiatt was immediately captivated by Kneecap’s energy when he first came across them. He remembers how absurd the concept of a movie about them seemed when he first proposed the idea to the band.

“The notion of making a movie about an unsigned local Irish band, who hadn’t released an album and were rapping in a language few people spoke, doesn’t exactly scream ‘hit movie,’” Peppiatt says. “It seemed so niche and irrational to make a film about that. But that was the very reason to make this film.”

With “Kneecap,” he’s created a unique kind of music film, one that unfolds in real time. “The concept of creating a biopic in real time, following a band as they’re making their journey, was a cool concept in itself,” he observes.

The members of Kneecap were initially skeptical of this Englishman who approached them to narrate their story.

“The English have a notorious history of exploiting the Irish for their own gain,” says DJ Próvaí.

After six months of persistent effort by Peppiatt, the band finally started to engage with him and eventually agreed to the project. (The film’s screenplay is credited to Peppiatt, with a story nod to the members of the band.) Peppiatt even persuaded them to take acting lessons before filming began.

“Once the film was completed, everyone else involved would move on to their next projects, but we’d still be Kneecap,” says Móglaí Bap, talking about their dedication to the project. “For us, as a band, if the movie’s bad and we’re bad and Rich is bad, then our careers in music would likely be over.”

“The challenges Rich had to face, trying to direct us, were immense,” says DJ Próvaí. “We’re playing ourselves, so we knew exactly what we would do. That helped to ensure the film was real, genuine, and authentic. But kudos to Rich, he took it all in stride.”

With their blend of hedonistic antics and liberationist politics — partying for their rights — Kneecap embodies the spirit of people who want to be taken seriously without having to act solemn all the time. Peppiatt notes that when he first attended a night class to learn Irish as he began the project, a few others were there because they were fans of Kneecap. As the band’s popularity has increased, those classes have only become more popular.

Móglaí Bap sees that as a mutual desire to break away from the constraints of traditional culture. “We’ve managed to break free from that,” he states. “And I believe that’s what really irks people, that we’re using the language in a contemporary manner. And I think it’s a global trend. With indigenous cultures, they say, ‘We’ll let you have your culture, but you have to express it in a certain way.’ We use the language in a manner that doesn’t fit their perception.”