Ireland's "Kneecap" leads the BIFA nominations

by Cláudio Alves

In a fascinating turn of events, the official Oscar submission from Ireland is the most nominated film at the British Independent Film Awards. Kneecap, a comedy about the homonymous Belfast hip-hop group, scored a grand total of 14 nods, including five for its director, Rich Peppiatt. In the second place, we find Rose Glass's Saint Maud follow-up, Love Lies Bleeding. A thriller flirting with body horror, it nabbed 12 honors. Coming in third, there's The Outrun which continues to grow its awards season profile. The Scottish drama scored nine nominations overall, but its best bet is probably Best Actress, where Saoirse Ronan is aiming for gold. If things go according to Sony Picture Classic's plans, the film might add an Oscar nomination to its bounty before the season's over…

Best British Independent Film 

• KNEECAP, Rich Peppiatt, Trevor Birney & Jack Tarling
• LOVE LIES BLEEDING, Rose Glass, Weronika Tofilska, Andrea Cornwell & Oliver Kassman
• ON BECOMING A GUINEA FOWL, Rungano Nyoni, Tim Cole, Ed Guiney & Andrew Lowe
• SANTOSH, Sandhya Suri, Mike Goodridge, James Bowsher, Balthazar de Ganay & Alan McAlex
• THE OUTRUN, Nora Fingscheidt, Amy Liptrot, Sarah Brocklehurst, Dominic Norris, Jack Lowden & Saoirse Ronan

It's interesting to note how international these films are and how not a single one of them is set in England. Kneecap is an Irish narrative, while Love Lies Bleeding calls the US home. On Becoming a Guinea Fowl is all about Zambian customs and cultural specificities, while Santosh's narrative is all about observing and critiquing an Indian status quo. Finally, there's The Outrun, which is very explicitly set in the Orkney Islands, off the coast of Scotland. I'm sad that Hard Truths didn't manage to make it here, but that film's entire festival run suggests some institutional reluctance to embrace it, so this shouldn't be entirely surprising. What should be a tad shocking is Bird's absence, considering how well it scored elsewhere. Then again, gotta remember that, like the Gotham Awards, the BIFA nominations are handled by separate committees, resulting in these idiosyncratic results.

Best International Independent Film  

• ALL WE IMAGINE AS LIGHT, Payal Kapadia, Thomas Hakim & Julien Graff
• ANORA, Sean Baker, Alex Coco & Samantha Quan
• LA CHIMERA, Alice Rohrwacher, Carlo Cresto-Dina & Paolo Del Brocco
• NO OTHER LAND, Basel Adra, Rachel Szor, Hamdan Ballal, Yuval Abraham, Fabrien Greenberg & Bård Kjøge Rønning
• THE SEED OF THE SACRED FIG, Mohammad Rasoulof, Rozita Hendijanian, Amin Sadraei, Jean-Christophe Simon & Mani Tilgner

I cheer every time All We Imagine As Light gets a mention somewhere. The most interesting inclusion here is surely La Chimera, which feels like a 2024 film despite its festival run last year, complete with a qualifying release to be Oscar-eligible. NEON really fumbled that bag stateside.

Best Director 

• Andrea Arnold, BIRD
• Nora Fingscheidt, THE OUTRUN
• Rose Glass, LOVE LIES BLEEDING
• Rungano Nyoni, ON BECOMING A GUINEA FOWL
• Rich Peppiatt, KNEECAP

This is the first time the BIFAs have nominated four women in the same Best Director lineup. Both Arnold and Nyoni are previous winners, with the former being the only filmmaker who has won this particular prize more than once. She got it for both Fish Tank and American Honey. Rose Glass was previously nominated for Saint Maud, while both Fingscheidt and Peppiatt are first-time nominees.

Best Debut Director 

• Christopher Andrews, BRING THEM DOWN
• Luna Carmoon, HOARD
• James Krishna Floyd, UNICORNS
• Karan Kandhari, SISTER MIDNIGHT
• Rich Peppiatt, KNEECAP

Clearly, it's Peppiatt's to lose. One interesting tidbit about this lineup is that Unicorns is co-directed by Sally El Hosaini, who is ineligible here since this is not her debut. Indeed, she was nominated for the BIFAs in 2012 for My Brother the Devil.

Best Debut Director – Feature Documentary

• Pinny Grylls & Sam Crane, GRAND THEFT HAMLET
• Manon Ouimet & Jacob Perlmutter, TWO STRANGERS TRYING NOT TO KILL EACH OTHER
• Rachel Ramsay, COPA 71
• Clair Titley, THE CONTESTANT

Why does this category only have four films? Surely there were other eligible titles. In any case, Two Strangers Trying Not to Kill Each Other should win a special prize for Best Title.

Best Screenplay 

• Nora Fingscheidt & Amy Liptrot, THE OUTRUN
• Rose Glass & Weronika Tofilska, LOVE LIES BLEEDING
• Rungano Nyoni, ON BECOMING A GUINEA FOWL
• Rich Peppiatt, KNEECAP
• Sandhya, SANTOSH 

I find it quite dispiriting when only six titles gobble up all the nominations between the film, director, and screenplay races. Come on, spread the wealth a little bit.

Best Debut Screenwriter

• Nell Garfath Cox & Dave Thomas, THE ASSESSMENT
• James Krishna Floyd, UNICORNS
• Karan Kandhari, SISTER MIDNIGHT
• Rich Peppiatt, KNEECAP
• Sandhya Suri, SANTOSH 

If you check other publications, you might see that The Assessment writers are credited differently. As in their debut film, Garfath and Thomas prefer to go by Mr. & Mrs. Thomas. As in other categories, Kneecap seems like the favorite, with Santosh posing a significant threat. Funny that they're both Best International Oscar submissions – Peppiatt's film batting for Ireland while Suri's work represents the UK.

Best Lead Performance 

• Radhika Apte, SISTER MIDNIGHT
• Susan Chardy, ON BECOMING A GUINEA FOWL
• Marianne Jean-Baptiste, HARD TRUTHS
• Elliott Page, CLOSE TO YOU
• Saoirse Ronan, THE OUTRUN
• Alicia Vikander, THE ASSESSMENT

Interesting to see that, even with six nominations, only one man made it into this category. Same as in Best Director, funnily enough. Elliott Page's presence is notable for other reasons, including the fact he's Canadian. Unlike the European Film Awards, the BIFAs welcome everyone involved with international co-productions that include British funds. It's an interesting rule, though I had no idea Close to You was eligible for these prizes. In any case, they did well in nominating Page, who is the best reason to watch the indie drama. Give or take Peter Outerbridge's supporting turn as a weary patriarch who just wants to see his family happy, together, and alive.

Best Joint Lead Performance  

• Joseph Quinn & Saura Lightfoot Leon, HOARD
• Katy O'Brian & Kristen Stewart, LOVE LIES BLEEDING
• Liam Óg Ó Hannaidh, Naoise Ó Cairealláin & JJ Ó Dochartaigh, KNEECAP
• Jason Patel & Ben Hardy, UNICORNS

When they moved to gender-neutral acting races in 2022, the BIFAs came up with this odd little category as a way to keep rewarding the same number of actors (still four winners, minimum) and to dissuade those who might partake in category fraud. Why would co-leads pretend to be supporting when they can be nominated here? The past two teams to get this honor were Letitia Wright and Tamara Lawrance in The Silent Twins, and Nathan Stewart-Jarrett and George MacKay in Femme.

Best Supporting Performance

• Michele Austin, HARD TRUTHS
• Elizabeth Chisela, ON BECOMING A GUINEA FOWL
• Barry Keoghan, BIRD
• Jack O'Connell, BACK TO BLACK
• Franz Rogowski, BIRD
• Hayley Squires, HOARD

Well, maybe the anti-category fraud strategies didn't work out. Some prizes have been recognizing Keoghan and Rogowski as leads, including the EFAs where the German star earned a nod earlier today. I simply pretend I don't see any love given to that preposterous Amy Winehouse biopic. Better to focus on Austin and Chisela, whose performances are truly some of the best of the year, regardless of nationality.

Breakthrough Performance

• Nykiya Adams, BIRD
• Susan Chardy, ON BECOMING A GUINEA FOWL
• Saira Lightfoot-Leon, HOARD
• Ruaridh Mollica, SEBASTIAN
• Jason Patel, UNICORNS 

I feel like there should be some system in place to prevent double dipping across the four acting categories. Chardy and Patel should have the advantage here since they are recognized in Lead and Joint Lead performance respectively. Then again, they might split the vote and clear the path for someone like Bird's young star.

Best Casting

• Lindsay Graham Ahanonu & Mary Vernieu, LOVE LIES BLEEDING
• Heather Basten, HOARD
• Isabella Odoffin, ON BECOMING A GUINEA FOWL
• Lucy Pardee, BIRD
• Carla Stronge, KNEECAP 

On Becoming a Guinea Fowl is such an inspired nominee in this category. In fact, congrats all around for recognizing the work of those who cast lesser-known actors rather than the professionals who mostly corral stars. Only Love Lies Bleeding and Bird can be described as such, and even those projects involve unknown actors making their big break.

Best Editing  

• Stephen Bechinger, THE OUTRUN
• Joe Bini, BIRD
• Margarida Cartaxo & Stuart Davidson, MADE IN ENGLAND: THE FILMS OF POWELL AND PRESSBURGER
• Chris Gill & Julian Ulrichs, KNEECAP
• Jake Roberts, CIVIL WAR  

Joe Bini is a previous nominee (should be winner) for You Were Never Really Here, while Chris Gill is a prior winner for American Animals. Jake Roberts is an Oscar nominee for Hell or High Water if that counts for anything with BIFA. It's interesting that Civil War was eligible but missed all the top categories. With those box office numbers, one would expect a bit more attention. Then again, the A24 production is on the threshold of what one could consider indie.

Best Cinematography

• Pawel Edelman, LEE
• Ben Fordesman, LOVE LIES BLEEDING
• Rob Hardy, CIVIL WAR
• Yunus Roy Imer, THE OUTRUN
• Ryan Kernaghan, KNEECAP

It's a pity that Dick Pope couldn't manage a posthumous nomination. His work in the latest Mike Leigh movie is subtle but virtuosic. Ben Fordesman is a previous winner for Saint Maid, while Rob Hardy was nominated for Men. Pawel Edelman is a first-time BIFA nominee, but the Polish cinematographer has already been recognized by AMPAS for The Pianist in 2002.

Best Production Design

• Bobbie Cousins, HOARD
• Jan Houllevigue, THE ASSESSMENT
• Katie Hickman, LOVE LIES BLEEDING
• Caty Maxey, CIVIL WAR
• Nicola Moroney, KNEECAP

Now, isn't that lovely? A Best Production Design lineup dominated by contemporary sets rather than period stylings certainly feels refreshing.

Best Costume Design 

• Zjena Glamocanin, KNEECAP
• Meghan Kasperlik, CIVIL WAR
• Olga Mill, LOVE LIES BLEEDING
• Mirage Mirage, UNICORNS
• Michael O'Connor, FIREBRAND

This is O'Connor's to lose, right? Must be, since it's got the showiest fits, a cornucopia of Tudor period pieces that make no compromise for audience relatability. Quite the contrary, the Karim Aïnouz's film risks alienation by leaning hard on historical quirks, the bizarre and the grotesque.

Best Make-Up & Hair Design

• Megan Daum & Frieda Valenzuela, LOVE LIES BLEEDING
• Peta Dunstall, BACK TO BLACK
• Kat Morgan, THE OUTRUN
• Lisa Mustafa, UNICORNS
• Jenny Shircore, FIREBRAND

If Unicorns wins, it'll be the second drag-focused drama to get this award in two years. The most recent victor was Femme, after all. That said, I'm rooting for Love Lies Bleeding's flirtations with body horror and Firebrand's disgusting array of facial hair, Tudor-style.

Best Effects

• James Allen, LOVE LIES BLEEDING
• Glen Mcguigan & Ingo Putze, LEE
• David Simpson, CIVIL WAR

There's no way in hell Civil War loses this one, right? This is one of those categories where the most expensive flick usually wins.

Best Original Music  

• Michael 'Mikey J' Asante, KNEECAP
• Burial, BIRD
• Stuart Earl, UNICORNS
• John Gurtler & Jan Miserre, THE OUTRUN
• Clint Mansell, LOVE LIES BLEEDING 

I have a hunch The Outrun will take this one despite some tough competition. The score is so prevalent during the film's peaks and climaxes that one has to assume that those who loved it as a whole will fall head over heels for its music. Either that or Kneecap gets the gold.

Best Music Supervision

• Iain Cooke & Giles Martin, BACK TO BLACK
• Jeanette Rehnstrom & Gary Welch, KNEECAP
• Kle Savidge, SISTER MIDNIGHT 

Kneecap might take the original music award, but it will surely take first place in this race. Unless BIFA goes gaga for that movie I'm pretending doesn't exist.

Best Sound

• Rose Bladh, Tim Burns, Paul Davies, Linda Forsén & Andrew Stirk, LOVE LIES BLEEDING
• Gregor Bonse, Dominik Leube, Jonathan Schorr & Oscar Stiebitz, THE OUTRUN
• Jimmy Boyle, Csaba Major & Mike Prestwood Smith, LEE
• Louise Burton, Aza Hand, Simon Kerr & Brendan Rehill, KNEECAP
• Glen Freemantle, CIVIL WAR  

What will win? The spine-chilling auditory hallucinations in Love Lies Bleeding or the wartime mayhem in Lee or Civil War. Then again, Kneecap might sweep the BIFAs. However, since I'm shite at predicting, one can't count The Outrun out.

Best Feature Documentary

• GRAND THEFT HAMLET, Pinny Grylls, Sam Crane, Julia Ton & Rebecca Wolff
• SUPER/MAN: THE CHRISTOPHER REEVE STORY, Ian Bonhôte, Peter Ettedgui, Lizzie Gillett & Robert Ford
• THE CONTESTANT, Clair Titley, Megumi Inman, Andee Ryder, Amit Dey & Ian Bonhôte
• TWO STRANGERS TRYING NOT TO KILL EACH OTHER, Jacob Perlmutter, Manon Ouimet & Signe Byrge Sorensen
• WITCHES, Elizabeth Sankey, Jeremy Warmsley, Chiara Ventura, Manon Ardisson 

Super/Man and The Contestant are the more mainstream choices, but I wonder if Grand Theft Hamlet can pull through here. The BIFA committees certainly seem to be in love with this experiment in Shakespeare via video game.

Breakthrough Producer 

• Hollie Bryan & Lucy Meer, THE CEREMONY
• Balthazar De Ganay & James Bowsher, SANTOSH
• Jacob Swan Hyam, BRING THEM DOWN
• Ben Toye, TREADING WATER
• Rebecca Wolff, GRAND THEFT HAMLET

Remember the Unicorns conundrum in Debut Director? The situation is duplicated and amplified in this race. Santosh, Bring Them Down and Grand Theft Hamlet all include the work of other producers who were ineligible.

Raindance Maverick Award

• GRAND THEFT HAMLET, Pinny Grylls, Sam Crane, Julia Ton & Rebecca Wolff
• RESTLESS, Jed Hart & Benedict Turnbull
• SATU – THE YEAR OF THE RABBIT, Joshua Trigg
• THE CEREMONY, Jack King, Hollie Bryan & Lucy Meer
• WITCHES, Elizabeth Sankey, Jeremy Warmsley, Chiara Ventura & Manon Ardisson

This award exists to honor the BIFAs' origins, closely tied to the Raindance Film Festival. It also focuses on maverick filmmakers who work on extremely limited budgets, even smaller than the average BIFA nominee.

Best British Short Film

• A MOVE, Elahe Esmaili & Hossein Behboudi Rad
• DELIVERY, Ben Lankester, Bophanie Lun & Joe Binks
• HOUSEWARMING, Liam White & Guy Lindley
• MEAT PUPPETS, Eros V, Masha Thorpe & Leah Draws
• WANDER TO WONDER, Nina Gantz, Stienette Bosklopper, Simon Cartwright, Daan Bakker & Maarten Swart

Nina Gantz is the biggest name here, having already won a BAFTA in 2016 for her Edmond short. Still, I doubt that'll spell the success of Wander to Wonder. After all, short categories are where more obscure filmmakers and newbies with feature hopes go to make their name.

What do you think of the BIFA nominations? Any predictions?

Comments

[Chase]

"Interesting to see that, even with six nominations, only one man made it into this category"

Thank you for this Claudio, I haven't laughed this hard since Jennifer Lopez tried to shill for Kamala Harris. The fact that you wrote this unironically is quite worrying but I guess that's what happens when you're beholden to such blatant propaganda like gender ideology. Ellen Page is not and never will be a man. She's a sexually abused woman in Hollywood who has been brainwashed. Stop encouraging this Talmudic nonsense.

The alternative view is that non-gendered acting categories shortchange us from honoring great work and it's as predictable as clockwork on this site for you to laud the achievements of women while denigrating and ignoring the omissions of men. A lot of men were robbed of genuine acting nominations that could have helped their careers. If the same thing happend (5 actual men and one trans man) I can't see you being so enthusiastic.

[Tony Fernando]

Please, remove The transphobic piece of s that commented.

[Chase]

Fine, go ahead and delete it. Deep down you know it's true.

[Juan Carlos Ojano]

Aaron: You do know this website is run mostly by homosexuals, right? Of course, we're gonna celebrate women more.

You wanna celebrate more men? Stick with the Oscars.

Also, you can take your transphobic bullsh*t elsewhere. Your kind will do well at Truth Social.

[Chase]

@Juan Carlos Ojano

I'm a gay man myself. The trans nonsense has set us back by about 50 years. The amount of mental somersaults that society has had to do in order to accommodate this bullshit doesn't extend only to gender neutral acting categories.

[Juan Carlos Ojano]

@Aaron: A transphobic gay man? Groundbreaking.

You are a disgrace to the LGBTQIA+ community. Shame on you.

[Chase]

@Juan Carlos Ojano

Look, I've been reading this site for close to 15 years now and the decline in intellectual quality over the last 5 years has been sad to witness. This isn't exclusive to this site alone by the way. Maybe ask yourself how Donald Trump managed to win today? These issues do not exist in a vacuum. They are part of a larger web of lies. You people (liberals, leftists, socialists whatever, I don't even know what the proper word is anymore) are impossible to talk to about anything deemed anti establishment or controversial. If I'm harsh in my approach you'll have to bare with me because I am beyond exhausted trying to mince words on these subjects for almost 7 years.

Perhaps you should actually read Ellen Page's book wherein she explicitly states that she was groomed as a minor by many people in the industry. Again, she's not an anomaly. The correlation to transgenderism and neurodivergency and childhood trauma is overwhelming. Her first interview post op was one of the saddest things I've ever seen and if you think being labelled 'transphobic' is going to shut me up, you can fuck right off.

Get out of your echo chamber and wake up. Something is wrong.

Finally, I would respect your rebuttal if you hadn't paraphrased Miranda fucking Priestly. For the love of Christ have some originality.

[NATHANIEL R]

can we not do this today?

[Cláudio Alves]

Alas, does anyone actually want to talk about the BIFA nominations?

[Robert G]

I'm over the moon for Love Lies Bleeding. I'm torn 4 ways right now for my best picture pick (the others being I Saw the TV Glow, Longlegs, and The Substance) and I'm so happy to see Rose Glass be so embraced after Saint Maud.

With that said, I think it better belongs in the Visual Effects category than the Makeup category, as the body horror is clearly digital effects. That's not a sleight against the film, either. It's a contemporary dark fantasy/romance/crime drama with body horror elements derived from the dark fantasy conceit. We're meant to notice that the pump is exaggerated by imagination and wish fulfillment, and it grows more exaggerated in its approach as the film barrels towards that delightfully shark jumping (in the best way possible) ending.

I love the idea of a best Duo Performance category. What an inventive way to recognize more great performances that work because of the collaboration between actors.

Totally misread categories. Happy that Glass got recognized in Director, especially after putting out such a bizarre and bold debut with Saint Maud. I'd say Directing/Sound/Cinematography/Acting are the strengths of Love Lies Bleeding, in that order. The sound is SO GOOD. You can feel the needle through your seat.

[Thomas Daniel]

Wow, what an incredible deep dive into the BIFA nominations! You've done an amazing job of highlighting the diverse range of films and performances that are making waves this year. I love how you’ve captured the international flavor of the lineup, with films from Ireland, Zambia, the US, and beyond, all competing for the spotlight. The breakdown of each category, especially the standout nominations like Kneecap's 14 nods and the strong presence of women directors, really paints a picture of how dynamic and boundary-pushing the indie film publixpassport scene is right now. I especially appreciate the thoughtful commentary on the underdogs like Hard Truths and Bird—it’s those little insights that make your piece stand out.

[Joe G.]

I'm curious to see Unicorns. There have been quite a few European indies in the past few years that follow the basic premise of a gruff/conventional gay man and a (typically Black or Brown) gay man who's quirky or effeminate. Not sure what that says about LGBT politics in the UK and Europe, but to me, they're my version of hallmark films, as I find them easy-ish and reliable.

How did Civil War qualify? Is there not a production budget cap?

Very happy to see Elliot Page here. I'm looking forward to seeing his film!