From tabloid whistleblower to provocative filmmaker, Rich Peppiatt’s journey to potential BAFTA glory is as unconventional as they come. His latest film KNEECAP, which has garnered six BAFTA nominations and 17 IFTA nods, marks an extraordinary transformation for the London-born journalist who once made headlines exposing questionable practices at the Daily Star.

After his high-profile resignation in 2011 and multiple mentions in Lord Leveson’s phone-hacking inquiry, Peppiatt channeled his experiences into a stand-up show about tabloid culture. This caught the attention of Hugh Grant and Steve Coogan, both prominent figures in the Leveson inquiry, who encouraged him to adapt it into his first film. “If you are a person who doesn’t really know what the hell you are doing in life and Hugh Grant and Steve Coogan come up to you and ask you to make a film, you go: ‘Yeah, I’ll give it a go,'” Peppiatt recalls. This baptism by fire ignited his passion for filmmaking.

The path to KNEECAP began after Peppiatt moved to Belfast with his wife, who hails from the republican suburb of Andersonstown. Two weeks into his new life, he encountered the Irish-language rap trio in a pub and was immediately captivated. The film tells their semi-autobiographical story, featuring the band members DJ Próvaí, Mo Chara, and Móglaí Bap, alongside Michael Fassbender as an IRA operative on the run.

The film pushes boundaries with its provocative content, including a controversial line referencing the 1984 Brighton hotel bombing that funders wanted removed. Peppiatt stood his ground, believing that “comedy and art should be pushing up against a line of acceptability.” His dedication to authenticity led him to learn Irish and immerse himself in the culture, understanding the profound significance of the language to young people in Belfast. “You can draw a border on my land, but I will still dream in the language I want,” he reflects on the film’s underlying message.

KNEECAP transcends mere entertainment, emerging as a movement that challenges stereotypes about working-class representation in media. The film showcases young people who can be both street-smart and politically engaged, wearing tracksuits while articulating complex political views. The real-life band has already made waves, with their debut single C.E.A.R.T.A banned by Irish state radio for its explicit content.

Never one to rest on his laurels, Peppiatt is already developing his next project – a controversial satire about Caribbean tourism tackling racial politics. His creative philosophy remains unchanged: “Unless there is some element of ‘I might be absolutely cancelled’, or ‘it might be the last thing I ever do’, then I can’t really get out of bed for it.” It’s this fearless approach to filmmaking that has transformed him from tabloid whistleblower to one of cinema’s most daring new voices.

The Irish-language film KNEECAP has made history at the 27th British Independent Film Awards (BIFA), securing seven prestigious awards, including the coveted Best British Independent Film. The film, which dominated the ceremony at London’s Roundhouse, arrived with an impressive 14 nominations and emerged as the night’s standout success.

The movie, based on a semi-fictionalised account of the west Belfast rap trio’s formation, garnered additional accolades including Best Debut Screenwriter for Rich Peppiatt and Best Joint Lead for the trio’s members Liam Óg Ó Hannaidh, Naoise Ó Cairealláin, and JJ Ó Dochartaigh.

Originally formed in 2017 by three friends using stage names Mo Chara, Móglaí Bap, and DJ Próvaí, the group has been known for their politically-charged lyrics and controversial approach. The film’s origin traces back to 2019 when director Rich Peppiatt was inspired after watching the group perform in Belfast.

Set in west Belfast in 2019, KNEECAP offers a dramatised, comedic exploration of the group’s beginnings, with Peppiatt describing it as “definitely more controversial than the usual movies that come out of Northern Ireland.”

The film’s multiple BIFA wins represent a significant milestone for Irish-language cinema and the group’s artistic journey.

In a landmark legal victory, Irish-language rap group Kneecap has triumphed in their discrimination case against former Conservative minister Kemi Badenoch, challenging her decision to deny them an arts grant. The controversy began when the group was initially shortlisted for a £14,250 grant from the Music Export Growth Scheme, which Badenoch blocked when she was business secretary.

The proceedings took a theatrical turn when band member DJ Próvaí arrived at the courthouse in a repurposed RUC Land Rover, adorned with Palestinian and Irish flags, wearing his trademark tricolour balaclava. The UK’s Department of Business and Trade ultimately conceded that the original decision was “unlawful and procedurally unfair.”

For Kneecap, the victory was never about the money. As the band stated, “This was an attack on artistic culture, an attack on the Good Friday Agreement itself, and on our way of expressing ourselves.” In a gesture of community solidarity, they announced they would donate the entire grant to two Belfast organizations: Glór na Móna and R-City Belfast.

Known for their provocative and politically charged music, Kneecap has consistently challenged political narratives. Their band name references the Troubles-era paramilitary tactic of “knee-capping,” while their music often subverts republican tropes and criticizes British rule in Ireland.
The case highlights tensions surrounding cultural expression and funding in Northern Ireland. The band argues that their music represents a cross-community belief that political institutions often ignore the needs of working-class communities on both sides of the divide.

“They don’t like that we oppose British rule,” the band stated. “We believe that England doesn’t serve anyone in Ireland, and the working classes on both sides deserve better—deserve funding, appropriate mental health services, and the freedom to celebrate music and art.”

Kneecap’s legal victory is more than a personal triumph. It’s a powerful affirmation of artistic freedom, cultural expression, and the principles of equality enshrined in the Good Friday Agreement.