About

Screen shot 2016-07-29 at 22.02.01

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

Screen shot 2016-07-29 at 21.54.06

Maximilian Le Cain (born 1978) has made more than ninety short, medium and feature length experimental films and videos over the past decade. He is a member of Experimental Film Society.

He is currently working in creative partnership with sound/performance artist Vicky Langan. He collaborates with artist Esperanza Collado in the multi-disciplinary art project Operation Rewrite and with composer Karen Power on the sound / film / performance project Gorging Limpet. He is a contributor to the Cinema Cyanide noise project.

For an in-depth account of his work in the context of contemporary Irish experimental film, see New Voices in Irish Experimental Cinema, an article by Donal Foreman.

He is also a film critic. He founded and edited Cork Film Centre’s online experimental film magazine Experimental Conversations. He regularly programmed 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, Vivienne Dick, Pip Chodorov, James Fotopoulos, Abigail Child and Christoph Girardet.

As a film critic, his writings have appeared in a broad range of international film journals, including La Furia Umana and 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.

Contact: closewatchfilms@gmail.com