MATTHEW HAWKINS applauds a psychotherapist’s disection of William Blake
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
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New releases from Christina Alden and Alex Patterson, Odette Michell, Clementine Lovell
JOHN GREEN is fascinated by a very readable account of Britain’s involvement in South America
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet
GORDON PARSONS acknowledges the authority with which Sarah Kane’s theatrical justification for suicide has resonance today
RON JACOBS welcomes a timely homage to one of the IWW and CPUSA’s most effective orators
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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Despite declining to show Kneecap’s set, the BBC broadcast Bob Vylan leading a ‘death to the IDF’ chant — and the resulting outrage has only amplified the very message the Establishment wanted silenced, writes LINDA PENTZ GUNTER
The Star's critic MARIA DUARTE salutes a frenetic and funny political comedy drama whose battleground is Belfast and where the weapons are words