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Film & TV, Film
“See it, Say it, Censored”: Kneecap’s artist led short film for Gaza
Text Zein Karam
As a prelude to their performance at Glastonbury, Irish rap group Kneecap released the first edition of their artist-led short film to raise awareness for the ongoing genocide in Gaza.
Building on its first iteration, the film has since been re-released twice. With each version, interviews and testimonies from doctors and activists at the heart of the movement have been added. Its latest, released on Monday, August 4th, emphasises testimonies from Palestinians featured in the film Ghassan Ghaben and Malak Mattar
Drawing from various human rights sources, the film builds a clear-cut and irrefutable case of the genocide, in an act of witnessing that is surgical and matter-of-fact in message; one that cannot be overstated enough.
Despite continued smear campaigns, Kneecap remain steadfast in a philosophy that has long underpinned their music: silence is a violent aberration that must be fought at all costs, especially in the face of unfolding horrors. “Kneecap will not stay silent while Western governments are complicit in genocide. They have made us a target,” the band asserts. “But they cannot target us all.”
The idea for the film began with artist and co-director Will Child, who contacted Kneecap’s team with a precise aim: to create something that would bring attention to the genocide in Gaza. “The film was a way to cut through the noise,” Child says. What started as a simple concept quickly evolved into a larger collaborative effort, bringing in a range of artists and activists to contribute. “Artists like Kneecap face an uphill battle just to speak out, we have to act together to amplify the message.”
In that exact spirit, the project is the newest addition to a long and proud tradition of artistic solidarity with artists reflecting the growing resolve to speak truth, act collectively, and use their platforms in the service of justice.
According to producer Lana Salfiti, the film came together in a very short space of time. There was an urgent drive among everyone involved to get it done. The team worked with limited resources, relying on grassroots networks, mutual aid, and community support. Artists previously involved in the Gaza Biennale were invited to participate, while organisers and activists helped connect the team with doctors and Gazans willing to speak on camera. The process was scrappy and collective, shaped by a shared understanding that immediate action was needed.
One of the most challenging aspects, Salfiti said, was finding Gazans living in the UK who felt safe enough to speak publicly. Many are on visas and were afraid of risking their legal status. For the production team, this highlighted the extent to which people are silenced and reinforced the urgency of making space for these voices.
More than just a film, the project stands as a call to action. It is a reflection of what can be achieved when artists and communities come together to speak out against injustice, even in the face of pressure and fear.
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