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      Dreams for Australian Cinema

      Maximilian Le Cain
      July 2005
      Feature Articles
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    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
    • Protestploitation ’70: Revisiting Zabriskie Point and Strawberry Statement

      Selen Ozturk
      July 2022
    • More than a Wink: The Nature of Reality in Blow-Up and Las Babas del Diablo

      Will Hair
      July 2022
    • Suicide and Genius: Insights into One Episode of Akira Kurosawa’s Dreams

      Matthew Michaud & Justin Richardson
      July 2022
    • Interrogating Identity: The Fractal Self in Le petit soldat

      Michael James Beck
      July 2022
    • Bigger than life, or stranger: Pedro Costa’s Vitalina Varela: Part III

      Thomas Austin
      July 2022
  • Interviews
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    • Pom Bunsermvicha interview: “Being part of a family“

      Maximilian Le Cain
      January 2022
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    • “Resistance is the driving force of the film”: An Interview with Davy Chou

      Maja Korbecka
      July 2022
    • The Plains: Conversation with David Easteal

      Maria Giovanna Vagenas
      July 2022
    • Human is only human when vulnerable: An Interview With Michel Franco

      Savina Petkova
      May 2022
    • ‘I Was Taunting the Western’: An Interview with Alejandra Márquez Abella

      Silvia Spitta & Gerd Gemünden
      May 2022
    • “The Act of Filming is an Inner and Physical Journey in Itself”: Interview with Helke Misselwitz

      Victor Paz
      May 2022
    • Information as a music video, comedy as a diagram: Beny Wagner & Sasha Litvintseva in conversation

      Madeleine Collier
      May 2022
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      Brooks, Albert

      Maximilian Le Cain
      August 2016
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
      May 2022
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      Jeremy Carr
      January 2022
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      Tom Cunliffe
      January 2022
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      Charles Fairbanks
      January 2022
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      Dan Golding
      July 2021
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      Maximilian Le Cain
      May 2022
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      Joy McEntee
      May 2022
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      Wheeler Winston Dixon
      May 2022
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      Jeremy Carr
      May 2022
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      Jessica Balanzategui
      January 2022
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      Ihr kleines Österreich: Wurscht, the World: Diagonale Festival of Austrian Film, Graz

      Maximilian Le Cain
      July 2006
      Festival Reports
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      Bérénice Reynaud
      August 2022
    • Is this the real life? Is this just fantasy? The 56th Karlovy Vary International Film Festival

      Cerise Howard
      August 2022
    • Normality: The 2022 Cannes Film Festival

      Daniel Fairfax
      August 2022
    • 36th Cinema Ritrovato Gets Covid in the Tail

      Roger Macy
      July 2022
    • Keeping the Fires Burning: A Week at the San Francisco Silent Film Festival

      Jonathan Mackris
      July 2022
    • New Territories and Old Dreams of Independence – Chinese and Hong Kong documentaries at the Taiwan International Documentary Festival

      Judith Pernin
      July 2022
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      Visconti Revisited Take 2: Luchino Visconti by Geoffrey Nowell-Smith

      Maximilian Le Cain
      July 2003
      Book Reviews
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    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
    • Rhythm and Light: Poetic Cinema and the Spirit of the Gift in the Films of Pabst, Parajanov, Kubrick, and Ruiz, by Laleen Jayamanne

      Steven Shaviro
      July 2021
    • West Side Story Redux: West Side Story: The Jets, the Sharks, and the Making of a Classic, by Richard Barrios

      Adrian Schober
      July 2021
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    • The Ascent (1977): Larisa Shepitko’s Final Word

      Maximilian Le Cain
      March 2019
      CTEQ Annotations on Film
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    • Shadows of Forgotten Ancestors (Sergei Parajanov, 1965)

      Wheeler Winston Dixon
      July 2022
    • Shockproof (Douglas Sirk, 1949): The Insanity of Romantic Desire

      Wheeler Winston Dixon
      May 2022
    • The Grotesque Loves of Jealousy, Italian Style (Ettore Scola, 1970)

      Tiia Kelly
      May 2022
    • A Geography of Fractured Desire: Michelangelo Antonioni’s L’eclisse (1962)

      Danica van de Velde
      May 2022
    • Il Deserto Rosso (Red Desert, Michelangelo Antonioni, 1964)

      Boyd van Hoeij
      May 2022
    • ‘You Can’t Make an Omelette…’ – Modesty Blaise (Joseph Losey, 1966) and the Art of Breaking Eggs

      David Melville
      May 2022
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Author Maximilian Le Cain

Maximilian Le Cain

Maximilian Le Cain is a filmmaker and cinéphile living in Cork City, Ireland.

Bridges and Streams: the 7th Athens Avant-Garde Film Festival

Maximilian Le Cain
December 2013
Festival Reports
Returning for its seventh edition after a three-year hiatus, the Greek Film Archives’ Athens Avant-Garde Film Festival proved an ambitiously programmed event taking place over ten days almost entirely within th...

Hungarian Rhapsody: The Experimental Forum at the 49th Thessaloniki International Film Festival

Maximilian Le Cain
April 2009
Festival Reports
14-23 November 2008 This year saw the addition of an “Experimental Forum” to the Thessaloniki International Film Festival. The Forum’s six screenings, programmed by Vassilis Bourikas, offered a rare and valu...
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Deval in ’68: An Interview with Patrick Deval

Fergus Daly and Maximilian Le Cain
August 2008
Before the Revolution
The director of Acéphale and Héraclite l’obscur looks back on the people, films and events that have shaped his work and thoughts.
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Snow Drift: The 2007 Lucca Film Festival

Maximilian Le Cain
March 2008
Festival Reports
28 September – 6 October 2007 The Lucca Film Festival was set up in tribute to the late Italian critic Marco Melani. Run by a group of young cinephiles, this remarkable event is distinguished not only by...
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Luc Moullet 6-Film Boxset (Blaq Out)

Maximilian Le Cain
May 2007
DVD Reviews
In the course of Gérard Courant’s hugely engaging 2001 documentary portrait of Luc Moullet, L’Homme des roubines (The Man of the Badlands), Moullet approvingly cites Howard Hawks’ opinion that a filmmaker shoul...
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Trajectories of Decay: An Interview with Bill Morrison

Maximilian Le Cain and Barry Ronan
November 2006
Special Dossiers, The Films of Bill Morrison
Bill Morrison is one of the most distinctive voices in the independent film scene. On the occasion of a retrospective of his films at the Cork Film Festival in Ireland, he speaks about the practice of his found-footage æsthetic.
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Battle in Heaven: An Interview with Carlos Reygadas

Maximilian Le Cain
February 2006
Feature Articles
One of the more controversial films of 2005, Mexican filmmaker Carlos Reygadas discusses the merits of his film.
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Being Michael Brynntrup

Maximilian Le Cain
July 2005
Experimental Cinema
German filmmaker Michael Brynntrup is the subject of his films. Le Cain dissects Brynntrup's self-portrait magnum opus E.C.G. Expositus: The Broadcast and the Artistic Media.
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Free, Radical: The 49th Cork Film Festival

Maximilian Le Cain
February 2005
Festival Reports
October 10–17, 2004 Like any substantial film festival, the Cork program presents an imposingly dense block of cinema out of which each viewer must carve his or her own micro-festival defined by the exi...
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Support Your Local Filmmaker: Abel Ferrara: The Moral Vision by Brad Stevens

Maximilian Le Cain
February 2005
Book Reviews
The '90s was an extraordinary decade for the cinema. As the elephantine decadence of the mainstream increased in grossness, a dizzying constellation of alternatives seemed to spring into existence all over the ...
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Love in Flight: François Truffaut’s La Peau Douce

Maximilian Le Cain
October 2004
Feature Articles
To mark the 20th anniversary of Truffaut's death, we present this re-appraisal of one of his finest and most underrated films.
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Before the Revolution: Bernardo Bertolucci’s The Dreamers

Maximilian Le Cain
July 2004
Feature Articles
This misunderstood film is not a nostalgic reconstruction of May '68 but a maturing cinephile's reverie on Utopian Possibility.

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