MATTHEW HAWKINS appreciates an interpretation in dance of James Baldwin’s landmark novel of doomed homosexual desire
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Belfast’s finest
An unexpected favourite at Sunday’s Golden Globes, JENNY FARRELL inspects the political context of the film Kneecap and its ferocious advocacy of the Irish language
NICK WRIGHT delicately unpicks the eloquent writings on art of an intellectual pessimist who wears his Marxism lightly
STEF LYONS is swept along by the infectious energy of an ex-con single mother’s dreams of Nashville
New releases from Jenn Butterworth, Liz Overs, and Gigspanner Big Band
SUSAN DARLINGTON applauds the translation of Jane Eyre into a ballet that preserves the drama of her formative years
Festival Coordinators TRISH MEEHAN and DODIE WEPPLER introduce some of the highlights of Screen Cuba Film Festival 2025
STEVE JOHNSON recommends that you catch an unforgettable tribute to Woody Guthrie
THE Irish language is often relegated to the past — a relic of rural idylls or historical dramas. Kneecap, directed by Rich Peppiatt, smashes this notion with all the subtlety of a sledgehammer, delivering a brash, hilarious and poignant quasi-biopic of Belfast’s working-class Irish-language left-wing rap trio, Kneecap.
Mo Chara (Liam Og O Hannaidh), Moglai Bap (Naoise O Caireallain), and DJ Provai (JJ O Dochartaigh) star as fictionalised versions of themselves, portraying their riotous rise in a city grappling with its post-Troubles identity.
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