AT a time when Hollywood churns out big-budget music biopics and endless sequels, an independent film is making waves with an original story that captures the raw energy of the music world—without the polished veneer of major studios. Kneecap is more than just another music movie; it’s a rallying cry for independent cinema, proving that fresh, authentic stories still belong on the big screen.
The modern film industry is stagnating within a metallic transforming CGI bush created by Michael Bay’s special effects team. Year after year, we are blasted in the face with colour over grit, action over substance, and cardboard over character—superhero flicks and lacklustre biopics that put the cash in cash grab. Something needed to change, and now, finally, we have that change in the form of Kneecap—a film about three Irish rappers that delves into the revival of a nearly forgotten language. Directed by a breakout filmmaker who recently won a BAFTA for Best New British Director, Kneecap didn’t just earn accolades—it was shortlisted for two categories at the Oscars, proving that bold storytelling still resonates.
What sets Kneecap apart is it’s raw, unfiltered energy and its ability to seamlessly blend humour, politics, and music into something truly subversive. This isn’t just a story about three Irish rappers; it’s a full-throttle dive into cultural rebellion, using the Irish language as both a weapon and a lifeline. The group’s satirical, often chaotic approach to politics—whether rapping about police harassment or challenging establishment narratives—gives Kneecap an edge that most music films lack. It feels alive, unpredictable, and deeply rooted in its community. The DIY ethos of the film, from its unpolished aesthetic to its unapologetic storytelling, mirrors the grassroots rise of the real-life band, making it feel less like a traditional biopic and more like a riotous manifesto set to a beat.
Compare this to Back to Black, the recent Amy Winehouse biopic. Despite telling the story of one of the most compelling voices in modern music, it landed with a thud—commercially and critically. With a star who had the look but not the presence, and a script that reduced its subject to clichés, the film failed to capture the fire that made Winehouse unforgettable. It’s the perfect example of why audiences are rejecting these sanitised, studio-approved biopics. A life like Amy’s deserved something raw, something urgent—something like Kneecap.
Scotland has a similarly rich, underrepresented linguistic and musical culture that could benefit from a film in the same vein. While the Scots language has seen a resurgence in poetry and literature, it remains largely absent from mainstream cinema. A film that integrates Scots into the world of punk, hip-hop, or folk music could provide the same kind of cultural and artistic impact as Kneecap. Artists like The Girobabies, Loki, and Declan Welsh & The Decadent West have already used music to explore working-class Scottish identity—imagine a film that captures that spirit with the same irreverence and bite. Much like Kneecap has helped reignite interest in Irish-language music and activism, a Scots-language music film could do the same for Scotland, bringing its linguistic heritage into a fresh, rebellious spotlight.
The film’s success raises an exciting question: could Scotland’s independent film industry and its vibrant music scene experience a similar breakthrough? Kneecap is not just a music film; it’s a cultural movement, blending art and activism in a way that feels urgent and real. Scotland, with its deep musical roots and rich cultural heritage, has all the ingredients to craft something equally groundbreaking.
While it didn’t secure a full Oscar nomination, being shortlisted for two categories is a step further to cracking the Hollywood biopic binge. It’s proof that real artistry and compelling stories can still break through, no matter the odds.
As the indie film world celebrates the success of Kneecap, another music film has quietly emerged to challenge the biopic formula that Hollywood has relied on for so long. The Bob Dylan biopic, a critical and commercial success, is making waves with its standout lead and co-star—both of whom have earned Oscar nominations for their performances. The film delves into the life of the iconic artist, known for his relentless pursuit of storytelling about the world’s injustices. In a time where these same themes are as relevant as ever, Dylan’s narrative continues to resonate with audiences, providing a timely reflection of our own struggles.
However, despite its fresh energy and incredible performances, the film still follows many of the familiar tropes that have dominated biopics for years. With big budgets, polished production, and a story structured for maximum commercial appeal, it falls in line with the genre’s typical approach to box office success. While these films can capture the zeitgeist of an era, they often lose the raw, personal touch that makes independent cinema stand out.
This raises an exciting possibility: Could the indie revival, led by films like Kneecap, begin to steamroll the next generation of filmmakers and artists into reinventing the music film genre? As we root for new voices to emerge, let’s hope the fresh, rebellious spirit of indie cinema can infuse the music film with the same kind of authenticity and grit that defined past musical movements. The indie film scene has already shown it can disrupt the tired formula—let’s hope it can continue to push the boundaries and create something groundbreaking that challenges the very nature of the music biopic.
The industry has made it clear: audiences crave stories with substance, emotional depth, and characters that truly resonate. The question now is whether Scotland will seize this moment. Who in Scotland will take the risk? Who will redefine our music and film landscape?
Best of luck to Kneecap for its upcoming endeavours—its triumph at the British Independent Film Awards is a testament to the power of indie cinema, and it proves that true artistry still has a place in film. Now, who will take up the mantle in Scotland?
