Kneecap: Language, Rebellion, and Masculinity in Post-Conflict Northern Ireland

The Kneecap movie, released in 2024 and directed by Rich Peppiatt, is a fictionalised account of the founding of the Belfast-based, Irish language rap group of the same name. Scripted in both English and Irish, the language itself becomes central to the film plot.

This film may not initially spring to mind when most people think about movies that challenge traditional patriarchal notions of masculinity. However, when set within the cultural and social landscape of Northern Ireland, the film subtly captures a significant generational shift in how masculinity is understood and expressed.

This subtle shift is exemplified in a memorable scene towards the film’s end when a former teacher (now part of the group) impulsively attacks armed police officers, only to be swiftly beaten down. The moment is punctuated by a voiceover that comedically underscores the futility of violence, stating:

Kneecap centres on a generation born in the aftermath of the Good Friday Agreement, often referred to as the "ceasefire babies." The Good Friday Agreement, signed in 1998, was a peace deal that helped end decades of violent conflict in Northern Ireland (known as the Troubles) and established a power-sharing government.

While these young men may not, therefore, have directly experienced the violence of the Troubles, they are nonetheless inheritors of a legacy marked by sectarian conflict, patriarchal norms, and a cycle of violence that has shaped the society of the North of Ireland.

Historically, films set in Northern Ireland (such as The Crying Game, Bloody Sunday, or Hunger) have often highlighted the stereotypical "macho" aspects of society, depicting men as aggressive and ready for confrontation at any moment. These portrayals tend to reinforce a version of rebellious masculinity that is rooted in domination, primarily linked to the realities of sectarian division and state violence.

Kneecap, however, offers a nuanced departure from these traditional representations. The film shows, through subtle but powerful details, that the younger generation is moving away from these stereotypes.

The three main characters, the young men navigating their lives amid these societal tensions, frequently mock the sectarian groups and their violent identities. They are depicted as losing fights (“we’ll skip the bit where we get our arses kicked”). They dismiss violence as a way to resolve conflicts, highlighting a rejection of the aggressive masculinity their older counterparts may have embodied, and the pointlessness of violent confrontations.

Throughout Kneecap, a core theme is rebellion. But this rebellion is not expressed through physical violence; instead, it manifests through language, culture, and the arts. Choosing to move away from violence is shown as both a rejection of sectarian conflict within their community and a resistance to broader state violence, such as police brutality and oppressive tactics, that continues to perpetuate tension and control throughout the film.

The main characters choose humour, camaraderie, and creative expression over violence, embodying a different form of masculinity, one that is rooted in language, community, and comedic self-awareness. Their older counterparts often mock or dismiss their choices, viewing their reliance on language and performance as embarrassing or emasculating.

Yet, the film underscores that for many young men in Northern Ireland, these alternative forms of rebellion are not merely acts of defiance but necessary pathways to identity and self-empowerment, which is especially important, given the limited options available to young people in Northern Ireland.

Northern Ireland currently has some concerning rates of violence against women, alongside worrying levels of youth suicide and persistent educational challenges that stem from decades of economic neglect.

In this context, the film portrays young men who, despite engaging in drug use, attending illegal raves, or wandering unemployed through Belfast's familiar streets, are making conscious choices. They are forging an alternative cultural identity that values expression over aggression. The film offers a powerful narrative that resilience and hope can be built through creativity and language, even in environments marred by hardship and societal tension.

One of the film’s greatest strengths lies in its uniqueness. Kneecap feels inherently tied to Northern Ireland’s specific cultural fabric. The setting, characters, and issues are woven into the local context in ways that would be impossible to replicate authentically elsewhere.

For those unfamiliar with Northern Ireland’s complex history, the film might initially seem like just another story of youth rebellion or local youth culture. However, when understood against the backdrop of a post-conflict society, one that still simmers with tension and inherited trauma, the film reveals a more profound message of a generational shift towards redefining what masculinity means.

Kneecap’s value lies in reflecting a broader cultural shift, in its cultural specificity and the message it conveys about change and possibility. It demonstrates that in a society shaped by decades of violence and patriarchal norms, there are alternative ways for young men to express themselves. Expressions connected to a deep-rooted pride in a history of language and culture that existed long before state violence and sectarian allegiances.

In Kneecap, masculinity is rewritten through language, humour, and community. An anti-macho approach that is only fully understood within Northern Ireland’s post-conflict cultural terrain. This shift offers a crucial example of how societies can redefine gender norms through cultural resilience, inspiring worldwide conversations about the power of art and storytelling to challenge toxic masculinity and foster social change.

Banner image: Liam Óg Ó Hannaidh, Naoise Ó Cairealláin and JJ Ó Dochartaigh of Kneecap attend the British Independent Film Awards, 2024. (Image: Fred Duval/Shutterstock)

About Louise Mackin

Louise is a student of the Global Cultures Master's program studying from her home in Northern Ireland, where she lives with her family. Louise is currently reading and researching the cultural representation of gender in post-conflict societies. She frequently travels to the Middle East and the US for her work in policy development. She loves music, art, learning new languages and being outside. 

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