Everybody Knows follows three interwoven narrative streams. The first is personal — Billy McCannon sculling on the River Liffey, the water as a formal spine and a place of reflection. The second is professional legal resistance, centred on UN Special Rapporteur Francesca Albanese and the mechanisms of international law. The third is grassroots — the resistance movements that have grown up in the shadow of institutional failure.
The film is shot in verité style on iPhone, embedded with the movements it documents. It moves from Bogotá — where the Hague Group is inaugurated beneath a portrait of Simón Bolívar — through London's Gaza Tribunal, to the UN General Assembly in New York, and home to Ireland: Derry, the hunger strike families, and the Liffey at dawn.
Ireland's post-colonial memory is the lens. The Irish experience of state violence, resistance, and international indifference makes visible something that otherwise stays hidden. That is the central argument.