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.

This misunderstood film is not a nostalgic reconstruction of May '68 but a maturing cinephile's reverie on Utopian Possibility.

A personal reflection on how one relates to and remembers cinema, Le Cain re-discovers the early MGM Tarzan movies, finding therein a complex interplay of social values and an innocence not found in contemporary cinema.

A distinguished film editor, Juliane Lorenz was closely associated with Rainer Werner Fassbinder in the final years of his life. She shares some memories of working with this "extraordinary" genius.

Despite having seen only a portion of Franco's incredibly vast oeuvre, Max's discussion is nevertheless insightful, uncovering the workings of what he refers to as "a paroxysmal non-narrative cinema based on the director's sensations".

Fragmented yet logical, estranging yet compassionate, Haneke's films find new ways to dramatise and diagnose contemporary alienation.

Max celebrates Scorsese's latest offering, an event in contemporary cinema, in particular its electrifying, visceral re-telling of history.

In this freewheeling interview, Cox and Davies discuss Revengers Tragedy, politics and society, Buñuel as a major influence, Cox's acting experience, Highway Patrolman, the Moviedrome series, and their next project.

Max explores Cox's latest effort, a futuristic adaptation of Jacobean drama and disguised social commentary.

Emanating from a personal discussion with Cardiff, Max explores the career, technique and wisdom of a living cinema legend.

Kenneth Wilbur Anglemyer b. February 3, 1927, Santa Monica, California filmography bibliography articles in Senses web resources Offering a description of himself for the program of a 1966 screeni...

b. January 17, 1934, Edinburgh, Scotland d. April 22, 1996, California, USA filmography bibliography articles in Senses web resources The only performance that makes it, that really makes it, that m...

The 47th Cork Film Festival took place between the 6th and 13th of October at three venues around Cork City. Although known mainly as a short film festival, there was so much by way of exciting features tha...

Drawing particular comparisons with Godard and Rivette, Max discusses the peculiar cinematic realism and energy of this contemporary cinema landmark.

A genuine and poignant portrait of 'being different', Ghost World comes close to being a masterpiece in the tradition of Ozu.

b. April 26, 1905, Paris, France. d. October 5, 1934, Paris, France. filmography bibliography web resources Of all cinema's illustrious martyr figures, none is more romantic than Jean Vigo, poet ma...

Max pays tribute to an eccentric Italian filmmaker and theatre director, actor and writer.

Wes Anderson's stylised soap opera, The Royal Tenenbaums, tells of prodigal patriarch Royal Tenenbaum's (Gene Hackman) attempts to reconcile himself with his family. He walked out on them some 20 years befo...

Andrei Arsenevich Tarkovsky, sometimes Andrey Tarkovski, Tarkowski, Tarkovskij b. April 4, 1932. Zavrazhe, Ivanono, Russia (now Belorus). d. December 28, 1986. Paris, France. filmography bibliograp...

Making sense of its narrative shards, Max offers an insightful and poignant reading of Mulholland Drive, Lynch's latest cinematic rendering of troubled identity and subjectivity.

Though Dumont's current filmography comprises only two films, Max argues a book length study is certainly not premature.

A detailed examination of Visconti's later period films, their majestic style and personal resonance.

Stopping off in Ireland: perceptive comments on films playing at Cork.

Cain traces the rise of character-studies and the theme of identity and performance in Cassavetes' late phase.

For Ever Godard, June 21 - 24, Tate Modern, London Garrel Éternel, June 26 - 27, Irish Film Centre, Dublin "Jean-Luc Godard? Is he still working? I thought... well, I thought he was dead." It's a depres...