Imagine a cinema possessed by the aesthetics of interruption. A cinema that makes space stutter, light gaseous and time circular… Imagine a cinema of cuts, plastic and hypnotic, where the interstices of sense prefigure the outer surface of all images: a cinema that advances the ‘impower’ of thought in its most schizophrenic dimension…
Through his film and video making, Le Cain puts us before a world that is incomplete: a fragmented space, a disjointed speech, a flickering flux…. This could surely resemble the eclectic structure of dreams, although it is actually thought’s genuine work. Max’s works are therefore ‘thinking space’, where the specificity of cinema -the vibration of light- is the hidden birth of thought…
…this aesthetics of interruption functions as a vehicle or catalyst for externalising pulses, anxieties, desires. Cinema becomes a sentient contraption that works as a sort of fail-safe device, kicking in when the system created between the filmmaker and his camera practice fails in attempting a harmonious encounter with a given space or experience.
From Maximilian Le Cain: Beyond the Cretinous World of Images by Esperanza Collado
Maximilian Le Cain (born 1978) has made more than seventy short and medium-length experimental films and videos over the past decade. He is also a film critic and editor of Cork Film Centre’s online experimental film magazine Experimental Conversations. He regularly programmes experimental film for the Cork-based experimental music/film event Black Sun and has presented avant-garde film events in collaboration with, amongst others, Cork Film Centre and Cork Film Festival, involving filmmakers such as Peter Tscherkassky, Pip Chodorov, James Fotopoulos, Abigail Child and Vivienne Dick.
He is currently working in creative partnership with sound/performance artist Vicky Langan. He collaborates with artist Esperanza Collado as ‘The Consecutive Impostors’ in the multi-disciplinary art project Operation Rewrite. He is a member, with Rouzbeh Rashidi and Dean Kavanagh, of the Cinema Cyanide noise project, and of the Experimental Film Society collective. In 2011, he received an Irish Arts Council bursary award to develop his practice from video to film-on-film work.
As a film critic, his writings have appeared in a broad range of international film journals, most notably Senses of Cinema, and in several books, including The Cinema of Roman Polanski: Dark Spaces of the World (Wallflower Press, 2006).
He is based in Cork City, Ireland.