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    Kneecap, Riotous Irish Rappers, Expect Their New Film to Shock

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    Kneecap’s Irish nationalist rap has drawn ire from pro-British politicians and commentators. A new film dramatizing the group’s story looks set to do the same.“He gave me his wallet,” joked D.J. Próvaí, a member of the Belfast-based rap trio Kneecap, to explain why the group trusted the British filmmaker Rich Peppiatt to tell their story.Kneecap’s blending of hip-hop beats with Irish-language rap lyrics championing republican politics — seeking unity for the Ireland’s north and south — has won it fans on both sides of Ireland’s internal border. The group has also drawn wrath from both British and Northern Irish politicians, who have accused it of inciting sectarianism. But this only made the trio a more attractive subject for his first scripted project, Peppiatt said, and “Kneecap” — a riotous fictionalized retelling of the rappers’ origins — comes to U.S. theaters Friday.“They deal with serious subjects in a hysterical way and made headlines for saying things that no one else seemed to be saying,” Peppiatt said in an interview alongside two group members. Last year, Kneecap unveiled a cartoonlike mural in Belfast of a police vehicle on fire, accompanied by an anti-police message in Irish.“They also played the media very well, drawing fire from the media and politicians, but always turning it to their own advantage,” Peppiatt added.A former journalist, Peppiatt resigned from the British tabloid newspaper The Daily Star in 2011 and then made the documentary “One Rogue Reporter” about unscrupulous newspaper editors. In the Kneecap lads, he found kindred rebellious spirits, and they were reassured by Peppiatt’s own turbulent experience with the news media.In the feature film “Kneecap,” the trio play fictionalized versions of themselves.Ryan Kernaghan/Sony Pictures ClassicsWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘The Quiet Girl,’ an Oscar Contender, Explores Irish Loneliness

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      The first Irish-language film to be nominated for an Oscar, directed by Colm Bairéad, tells a gentle story of cultural reticence.This article contains spoilers for the film “The Quiet Girl.”For the first 55 minutes of “The Quiet Girl,” the film’s audience does not know why the titular child has been sent to live with strangers in the Irish countryside. Cáit (Catherine Clinch), 9, does not know either. Her parents do not talk to her, and they barely speak to each other.Cáit eventually learns the truth from a nosy neighbor: While her parents prepare for the birth of yet another baby, she has been shuttled from her chaotic family home to spend the summer with some middle-aged relatives, Eibhlín (Carrie Crowley) and Seán (Andrew Bennett), who have their own silent sorrow.This uneasy, unanswered isolation is at the heart of “The Quiet Girl,” which arrives in U.S. theaters on Friday, and is the first Irish-language film to be nominated for an Oscar. A “hushed work about kith and kindness,” as Lisa Kennedy wrote in her review for The New York Times, the film tells a quintessentially Irish story, yet one that is rarely seen by international audiences on the big screen.Irish cinema often features a cast of gregarious men and pious, conservative women, like in Ken Loach’s “The Wind That Shakes the Barley”; “Brooklyn,” starring Saoirse Ronan; and Kenneth Branagh’s Oscar-nominated “Belfast.”“Irish people are always known for the gift of the gab,” said Cleona Ní Chrualaoí, the producer of “The Quiet Girl.” “It becomes almost a caricature.” But in Chrualaoí’s film, Cáit and her new guardians cautiously try to connect through their loneliness and pain.When Cáit (Clinch), left, and Eibhlín (Carrie Crowley) first meet, Cáit is slow to warm to her elder relative.Super, via Associated PressThe depiction of such struggles to communicate has resonated deeply with Irish audiences. The feature — called “An Cailín Ciúin” in Ireland — was named the best film of 2022 by the Dublin Film Critics’ Circle, and screenings in the country have regularly left viewers in tears.The Projectionist Chronicles the Awards SeasonThe Oscars aren’t until March, but the campaigns have begun. Kyle Buchanan is covering the films, personalities and events along the way.The Tom Cruise Factor: Stars were starstruck when the “Top Gun: Maverick” headliner showed up at the Oscar nominees luncheon.An Andrea Riseborough FAQ: Confused about the brouhaha surrounding the best actress nominee? We explain why her nod was controversial.Sundance and the Oscars: Which films from the festival could follow “CODA” to the 2024 Academy Awards.A Supporting-Actress Underdog: In “Everything Everywhere All at Once,” don’t discount the pivotal presence of Stephanie Hsu.For Colm Bairéad, the film’s director, miscommunication is at the heart of both “The Quiet Girl” and its source material, Claire Keegan’s novella “Foster.”“So much of it is under the surface,” he said in a recent video interview, noting that Keegan’s prose was able to capture an Irish inability to open up. “There’s this emotional reticence that hangs over everything,” he added.Irish people “don’t talk about our feelings in the way other cultures do,” said Siobhan O’Neill, a professor at the University of Ulster, whose work focuses on intergenerational trauma. “People who are traumatized,” she added, “don’t want to talk about it.”In both Cáit’s fictional childhood — set in the ’80s, in the countryside — and my own, in Belfast, Northern Ireland, in the two subsequent decades, the effects of the historically religious and conservative society hung in the air. Like Cáit, as a child I attended wakes and was aware of the way gossip moves in small communities.This social history had wider implications: I was 4 when the last “Magdalene laundry” — abject institutions usually run by the Catholic Church where thousands of women worked without pay — closed. Like many children of the “cease-fire baby” generation, born just before the end of the Troubles, I struggled to communicate with my parents through an atmosphere of generalized anxiety.The same intergenerational malaise permeates “The Quiet Girl.” While most of the film’s dialogue is in Irish, Cáit’s cold father (Michael Patric) is the only character who speaks exclusively in English, reflecting the distance between him and Cáit.The film’s preference for Irish dialogue has been widely praised in Ireland, as a wider so-called Celtic revival across music, politics and fashion has recently been celebrating the language. Less than 2 percent of the Irish population speaks the country’s native language on a daily basis, but recent Irish-language interviews from Paul Mescal and Brendan Gleeson on the red carpet at the British Academy Film Awards attracted much attention online, including Mescal’s praise for “The Quiet Girl.”When Bairéad, who has raised his children with Ní Chrualaoí speaking Irish at home, read “Foster,” in 2018, he said he knew he wanted to make it an Irish-language film. The book could “be an authentic Irish-language story,” he said. “We weren’t forcing the language into a scenario.”“There’s this emotional reticence that hangs over everything,” said Colm Bairéad of his film “The Quiet Girl.” Nacho Gallego/EPA, via ShutterstockAt the time, he and Ní Chrualaoí were expecting their second child, and both felt drawn to Cáit’s aching loneliness, Bairéad said. In the film, the absence of Cáit’s world unfolds in slow, dreamy glimpses rather than via dialogue: a glove box filled with cigarettes, a child sitting alone in the bath. The pair were also aware, Bairéad said, of how rarely figures like Cáit were the protagonists in Irish stories.“There’s been a tendency in our cinema to pander to something that’s expected of us,” Bairéad said. But a recent wave of Irish films feel “very sure of themselves in terms of their identity,” he added. “They’re coming from the inside out, rather than the outside in.”These films include the fellow Oscar contender “The Banshees of Inisherin,” in which Colm’s (Brendan Gleeson) ennui becomes a self-destructive determination to create a musical legacy. In the 2022 film “The Wonder,” the protagonist’s inability to speak about girlhood sexual abuse is transformed into a belief that God is speaking through her body.In “The Quiet Girl,” we see Cáit grow from a lonely little girl to a more confident and open child. The film tackles the effect of societal traumas, O’Neill said, by addressing what goes “deeper than words,” and how comfort, sometimes, has to come from somewhere other than talking.With words still scarce, Cáit finds comfort in the softness of Eibhlín’s touch, and her discovery — thanks to Seán — of the joy of movement. Although verbal expressions of emotion might continue to be culturally difficult for Cáit and for those around her, in the film’s powerful final moments, we see the child running, silently, toward love. More

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      Ireland Cheers Paul Mescal for Embracing Irish Language

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      On the red carpet for the British Academy Film Awards, the Oscar-nominated actor gave an interview in Ireland’s national language.Paul Mescal, the Irish actor nominated for an Oscar for his performance in “Aftersun,” is a familiar figure on red carpets. But on Sunday at the British Academy Film Awards, he did something he had never publicly done before: He spoke Irish.Mescal, 27, was walking the red carpet in London when he stopped to talk with TG4, an Irish-language public broadcaster. The interviewer opened the conversation in Irish, also known as Gaelic, and the actor nervously followed suit.For a man whom the BBC had erroneously identified as British only a few weeks before, it was quite a moment. The two-minute interaction, posted on Twitter, has been viewed one million times and set off a conversation across Ireland about the state of one of Europe’s most endangered languages.“I found it very emotional,” said Eithne Shortall, an Irish author who lives in Dublin. “The whole country is bursting proud of Paul Mescal.”The interview resonated in Ireland, where many want to speak the language but may find themselves short on confidence, Shortall said. According to the 2016 Irish census, the latest for which numbers are available, 39.8 percent of the Irish population can speak Irish, which is down from 41.4 percent in 2011. Of the 1.7 million people who said they could speak the language, only 73,803 — 1.7 percent of the population — said they did so daily outside an educational setting.“I’m sorry about my Irish — it was much better when I was in school,” Mescal said in Irish during the interview. “It’s slightly lost on me now.”Interviews With the Oscar NomineesKerry Condon: An ardent animal lover, the supporting actress Oscar nominee for “The Banshees of Inisherin” said that she channeled grief from her dog’s death into her performance.Michelle Yeoh: The “Everything Everywhere All at Once” star, nominated for best actress, said she was “bursting with joy” but “a little sad” that previous Asian actresses hadn’t been recognized.Angela Bassett: The actress nearly missed the announcement because of troubles with her TV. She tuned in just in time to find out that she was nominated for her supporting role in “Black Panther: Wakanda Forever.”Austin Butler: In discussing his best actor nomination, the “Elvis” star said that he wished Lisa Marie Presley, who died on Jan. 12, had been able to celebrate the moment with him.Irish is a mandatory subject in primary and secondary schools in Ireland, said Deirdre Ní Loingsigh, director of the Irish Language Center at the University of Limerick. As a result, almost all Irish people have a “cúpla focal” — a few words — but some are reluctant to use them. Shortall said seeing Mescal himself being hesitant to speak was encouraging.“A lot of the reason we can’t or we don’t is we’re nervous, and we’re kind of embarrassed,” Shortall said. “Maybe there’s a feeling that because it is our national language, we should be able to speak it better than most of us can.”Mescal wasn’t the only Irish actor who spoke Irish at the BAFTAs. Brendan Gleeson, a well-known Gaeilgeoir, or fluent Irish speaker, also gave an interview in Irish, while Colin Farrell, his co-star in “Banshees of Inisherin,” slowly backed away and was relieved to quickly find someone who would ask him questions in English.“Shame on me,” Farrell, who is also Irish, said.Mescal’s viral clip appeared against the backdrop of the so-called Green Wave — also affectionately referred to as Ireland’s going Oscar Wild. Twenty-five percent of this year’s acting Oscar nominees are Irish, according to The Los Angeles Times, and this is the first time an Irish-language film has been nominated for an Oscar, with “The Quiet Girl” up for best international feature film.“The language is almost like the central character of our film, you know, it’s been silenced over many years,” Colm Bairéad, the director of “The Quiet Girl,” said in an interview. “There’s something quite appropriate about the fact that the year where we have the most nominations in our history, our language is also part of that.”Irish, a Celtic language closely related to Scottish Gaelic, is the oldest spoken language in Western Europe, according to Gearóid Ó hAllmhuráin, a professor at Concordia University’s School of Irish Studies in Montreal. While Ireland was occupied by Britain, speaking Irish was often punished; when Ireland signed its Constitution in 1937 — after gaining independence in 1922 — Irish was designated as the national language, with English considered a second official language. Factors such as mass migration stemming from the Great Famine and present-day emigration have contributed to the language’s decline and led to the creation of Irish-language schools across the country, Ó hAllmhuráin said.Irish is currently considered “definitely endangered” by UNESCO. Shortall said part of the issue is the way the language is taught in schools, which is more academic than conversational. Bairéad said that as a result, Irish had failed to feel like a “living language” to many people and that had contributed to the country’s complex relationship with its native tongue.“Irish people do have a yearning for this expression of ourselves, as a people, that belongs to us,” Bairéad, who was raised bilingual, said. “This is a mode of expression that is ours, and that we can reclaim, but it takes a certain level of commitment. And when you see people like Paul being willing to do that, that’s inspiring for people.”The Irish have a phrase, “Is fearr gaeilge bhriste ná béarla cliste,” which translates to, “Broken Irish is better than clever English” — an idea that Mescal has come to embody, Shortall said.Mescal’s example has motivated her to speak more Irish, even if she needs to mix in the odd English word.“I really don’t think you can overstate how great this is for the language, to have someone so visible, young and cool speaking Irish,” Shortall said.As the interview wound down on the red carpet Sunday, the journalist asked Mescal one final question: Would he ever consider acting in an Irish-language film?“Yeah, absolutely,” he said — in English. More

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      in Music

      How Kneecap Is Pioneering Irish-Language Rap

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      The trio Kneecap is pioneering Irish-language rap, a genre that barely existed a decade ago.BELFAST, Northern Ireland — On a recent evening in a small, rowdy, West Belfast bar, Mo Chara and Móglaí Bap, two members of the rap group Kneecap, were posing for photographs with fans. One of the bar’s patrons, tapping out a text message nearby, called out to the rappers, “How do you spell ‘ceart go leor’?” an Irish phrase meaning something like “OK.”It might seem like a weird question for hip-hop artists, but Kneecap’s members should know. They have found fame here in a genre they are pioneering: Irish-language rap.Since 2017, when Kneecap released “CEARTA” (the Irish word for “rights”), the band’s popularity has been growing on both sides of Ireland’s internal border and among the diaspora across the Irish Sea. The band’s signature blend of ramshackle rave and rudimentary hip-hop beats, mixed with republican politics — in the Irish sense of seeking unity for the island’s north and south — has brought Kneecap sold-out gigs in Belfast and Dublin, and a growing fan base in England and Scotland.Even a decade ago, the notion of Irish-language rap seemed fantastical. But something is happening in Ireland — north and south — which lately finds itself in the midst of a so-called Celtic revival, with questions of identity, place and culture being interrogated across the arts, politics, fashion and even spirituality.The Irish language is central to this resurgence. The dominance of English in Ireland is a legacy of British colonization, stretching to the 12th century. English became the language of opportunity, progress and employment, and Irish came to be seen as incompatible with modern life. But people carried on speaking Irish in some pockets of the island, and a boom in Irish-language schools from the 1970s raised new generations that viewed the language with pride and enthusiasm rather than shame and resistance.D.J. Próvaí showing a photo of his father’s arrest during the Bloody Sunday uprising of 1972.Paulo Nunes dos Santos for The New York TimesRepublican murals in the Falls Road district of Belfast.Paulo Nunes dos Santos for The New York TimesKneecap’s signature style blends ramshackle rave and rudimentary hip-hop beats with republican politics.Paulo Nunes dos Santos for The New York TimesKneecap was born out of an Irish-speaking west Belfast squat, whose all-night parties featured both techno and traditional Irish music on the sound system. “We felt there was something bubbling, and we wanted to represent that,” Móglaí Bap said.“Irish language and culture doesn’t necessarily have to be an image of rural traditional music,” Mo Chara said. “It can involve youth culture.”Kneecap’s lyrics feature republican slang and slogans — often used in a tongue-in-cheek manner — that have stirred controversy in Northern Ireland. D.J. Próvaí, the third band member, said he left a job as an Irish teacher in 2020 after his school objected to a Kneecap video in which an anti-British slogan — “Brits out” — appears drawn on his buttocks.“Republicanism is so vast, and on a spectrum,” Móglaí Bap said in an interview. “We like to toy with it. We like to take the irony on, and also not be dictated about what kind of republicanism we’re going to believe in.”Frequent references to taking drugs in the band’s lyrics have placed Kneecap at odds with republican dissidents, many of whom have a zero-tolerance policy toward drug use. (The band’s name comes from a form of torture that republican paramilitary groups would inflict on those they accused of drug dealing.) “We’re screaming about the ‘Ra,” Móglaí Bap said, using a familiar name for the Irish Republican Army, “even though the ‘Ra would probably shoot us for doing all of these sort of things.”Not all artists embracing the Irish language are motivated by politics, however: Often, it is as much about rediscovering the past as reckoning with the present. In summer 2020, Manchán Magan, a writer and broadcaster, published “32 Words for Field,” a catalog of lost words to describe the Irish landscape. The book recalled ancient Irish terms like “scim,” which can mean a thin coating of particles, like dust on a shelf, “but it can also mean a fairy film that covers the land, or a magical vision, or succumbing to the supernatural world through sleep,” Magan writes.“32 Words for Field” was an instant cult hit, and it became a mainstream one. Its initial print run sold out in pre-orders before it reached bookstores.Magan said the recent boom in Irish-language creativity was part of a continuing search for an Irish identity, unshackled from colonialism and Catholicism. “What we’re trying to do is rooting ourselves back to — not nationalism, but those things that came before the nation,” he said in an interview. “Connection with the spirit, or some sort of universal mythology, all of those things that bring us together, that make us realize we’re united.”Catherine Clinch, left, and Carrie Crowley in a scene from “The Quiet Girl,” an Irish-language movie that won two honors at this year’s Berlin International Film Festival. InscéalIn Irish-language cinema, barely a genre a few years ago, the latest hit is “The Quiet Girl” (“An Cailín Ciúin”), which last month won two honors at the Berlin International Film Festival, and this month beat the Academy Award-nominated “Belfast” to win best film at the Irish Film and Television Academy Awards. Adapted from a 2010 short story in The New Yorker by Claire Keegan, “The Quiet Girl” was partly funded by an initiative called Cine4, run by the Irish-language television station, TG4.The film’s writer-director, Colm Bairéad, said he looked forward to the film being screened around Europe, when audiences would hear “the Irish language bouncing around these auditoriums where the language just hasn’t been heard throughout the history of the medium.”Cleona Ní Chrualaoí, the producer of “The Quiet Girl,” said the current resurgence of Irish-language creativity was, in part, because of people who went through the Irish-language school system. “That has really helped our positive relationship with the language,” she said. “We have generations of children, who have become adults who really respect the language.”Móglaí Bap said Kneecap’s members came from “probably the first generation coming out of the Irish-language education system that developed their own sense of identity within the language.” For the band, rapping in Irish wasn’t just about lyricism, or even identity, Mo Chara said. It offered, he added, “a completely different understanding of the culture, and even of reality around you.”“We found this wee niche,” Móglaí Bap said. “The language is a way for us to bring people with us.”Kneecap has played sold-out gigs in Belfast and Dublin, and has a growing fan base in England and Scotland.Paulo Nunes dos Santos for The New York Times More