Malcolm Le Grice, a founding member of the London Film-makers Co-operative, has been a leading figure in the British avant-garde since 1966, both as a filmmaker and a theorist. (He is the author of Abstract Film and Beyond.) While his earlier works were concerned largely with material aspects of the film image, and sometimes with its projection, Finnegan's Chin--Temporal Economy is a return, after a fashion, to film narrative. Simon Field writes for Monthly Film Bulletin: “Summarized, Finnegan's Chin has the most parsimonious of narratives. Le Grice's single ‘performer' is seen to enact (then re-enact and re-enact, as we tend to do in daily life) a limited set of simple actions. He awakens, turns off the alarm; he shaves (the eponymous chin); he makes himself breakfast.... Seldom, if ever, though, are matters that chronologically simple, for the film is devoted largely to a virtuoso re-presentation of the actions in an almost fugal variation of order, the events themselves re-enacted in different ways, with tricks of time and occasional excursions into the absurd and fantastic.... The film is thus ‘about' the cinematic perception and transformation of time and space, about order, logic, cause and effect... For Le Grice, the strategy is a familiar one.... The core of Le Grice's position...over more than a decade has been an uncompromising resistance, frequently couched in political terms, to the seductions and mystifications of narrative forms....”