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A user-friendly guide to the leavings of two decades of constant frantic scrabbling at the margins of film culture and the outer limits of cinematic creativity...

Dreamplosion /driːmˈpləʊʒən/ [noun]A series of thoughts, images, and sensations collapsing violently inwards in a person’s mind during the active watching of films emerging from the workshop of Experimental Film Society. This fictitious word and its paronyms are particularly suited to address Maximilian Le Cain, one of the most prominent filmmakers of the Irish underground scene.  

Nikola Gocić

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…


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.


- Esperanza Collado, Maximilian Le Cain: Beyond the Cretinous World of Images

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