Author Maximilian Le Cain

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...

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...

The director of Acéphale and Héraclite l’obscur looks back on the people, films and events that have shaped his work and thoughts.

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...

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...

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.

One of the more controversial films of 2005, Mexican filmmaker Carlos Reygadas discusses the merits of his film.

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.

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...

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 ...

To mark the 20th anniversary of Truffaut's death, we present this re-appraisal of one of his finest and most underrated films.

Kill Bill's battle-of-the-exploitation-genres both fascinates and disappoints.