Since 2010,  Vicky Langan and Maximilian Le Cain have been working together in a unique creative audio-visual partnership. This is built on the strikingly fitting match between Langan’s magnetic, often troublingly intense presence as a performer and Le Cain’s distinctively jarring, disruptive visual rhythms. As of August 2017, they also began to collaborate on live performances.

So far, they have completed fourteen moving image works together:

Inside (70 mins, 2017) is the first Langan / Le Cain feature. It excavates the sensations, desires and elusive chimeras of one woman’s inner life. Taking place in the isolated setting of a remote country cottage, it summons a haunting portrait of a woman adrift in a personal reality formed of her domestic rituals and frustrations. At once lyrical, unsettling and perverse, Inside is a chart of the growth patterns of solitude.

Play Ground (16 mins, 2017) is a tribute to the great Dutch filmmaker Frans Zwartjes. Langan & Le Cain play characters locked into patterns of desire who seem unable to connect in this playful but ultimately melancholy film. It formed the basis of the first Langan / Le Cain live performance.

Wilderness Notes (20 mins, 2017) is a section of a three-part work made with Atoosa Pour Hosseini and Rouzbeh Rashidi. The three films all explore psychic, territorial and technological margins. Isolated characters, all somehow locked into masks or fixed personae, navigate desolate zones between dimensions where a sense of being physically adrift and at risk is mapped onto a corresponding inner state. But they are not only adrift in space, they are equally adrift in time. Langan / Le Cain’s contribution is a take on the Western genre.

In the Place of Origin (18 mins, 2016) navigates a delicate flow between apparently opposite states: self and other, human and non-human, interior and exterior, construction and dispersion. The uncertain limits of the human body gauge the tensions between elements of the material world that pass as strangers but not without reflecting each other in surprising and unsettling ways, stitched and unstitched by the breath of the wind.

Brine Twice Daily (20 mins, 2015) is a film that came from the sea, from the depths, and it never truly escapes its salt-encrusted origins. A bizarre romance that is at once an absurd comedy, a horror/adventure B-movie, a cryptic home video and a fading seaside postcard stuffed into a bottle and cast adrift on the ocean, Brine Twice Daily marks a new departure in the Langan/Le Cain filmmaking partnership.

Tangled And Far (12 mins, 2013) foregrounds the overlap between intimate domestic detail and its reflection in Langan’s performance work. The private and public projections of her presence and actions collapse into each other in this phantasmagoric continuum of alternate selves and self-images to form a fractured dream portrait.

Dirt (12 mins, 2012) is a phantasmagoric mélange of live performances and elements of gothic horror, resulting in a haunting, intense and sometimes humorous portrait of Wölflinge.

Wölflinge 12/4/’12 (7 mins, 2012) reprises the techniques of Wölflinge 17/11/’10 in its interpretation of a particularly searing Wölflinge performance.

Lullaby (20 mins, 2011) This study of nocturnal solitude develops into a visually overwhelming, stroboscopic nightmare that nevertheless retains a quiet tenderness all of its own.

Contact (3 mins, 2011) uses Super-8 elements in constructing a dialectical relationship between film image and material.

Desk 13 (9 mins, 2011) brings a darker, more erotic aspect of their vision to the fore.

Hereunder (12 mins, 2011) is an intense, fragmented (auto)biographical portrait of Vicky, which sets her adrift amidst lockers of garden shed bric-a-brac from which she summons an ocean of sound.

Wölflinge 17/11/’10 (8 mins, 2011) is a haunting visual interpretation of a performance by Langan that breaks down the boundaries between spectator and performer.

Light / Sound (9 mins, 2010), their first video, acclaimed by critic Fergus Daly as one of the top ten films of 2010 in the Senses of Cinema magazine end of year poll, was chosen for distribution by Paris-based experimental film cooperative Collectif Jeune Cinéma.