Welcome to Projected Figures

If you have come to Projected Figures expecting accountancy, you are in the right place. Accountancy is what film writers do: counting minutes, counting words, reducing all cinema’s abstract expressions to calibrations,  evaluations and calculated formulae on a simplified, and simplifying, worksheet. Critics, you see, operate a kind of reverse-alchemy, transforming vibrant sights and sounds into bland verbiage and, if you’re…

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The Dead Next Door (1989)

First published by Little White Lies as part of my Cinema Psychotronicum column Horror may have hit the doldrums in the early Nineties, but its resurrection came in the postmodern movement which was spearheaded by Wes Craven’s New Nightmare (1994) and Scream (1996) and then run into the ground by a whole series of other…

Suture

Suture (1993)

First published by Little White Lies as part of my Cinema Psychotronicum column “How is it that we know who we are?” ask psychiatrist Dr Shinoda (Sab Simono) in voiceover at the beginning of Suture. As he continues to discuss the deeply ingrained sense of personal identity, remaining in place no matter how confusing or…

Cold

That Cold Day In The Park (1969)

First published by Little White Lies, as part of my Cinema Psychotronicum column On that cold day in the park in Vancouver, well-dressed Frances Austen (Sandy Dennis) passes a bench where an unnamed Boy (Michael Burns) sits and shivers. Frances is on her way to her well-appointed parkside apartment, where she is to host a…

Intruders

Intruders (Shut In) (2015)

First published by Little White Lies as part of my Cinema Psychotronicum column Conrad (Timothy T. McKinney), brother of Anna (Beth Riesgraf), keeps calling her ‘Birdy’ – and though he means it affectionately, the childish nickname just annoys Anna. Maybe it reminds her of her state of arrested infantilisation, locked into a relationship of interdependence with…

Jodorowsky

A Brief Guide to Alejandro Jodorowsky

First published by Little White Lies, Issue 65, May/June 2016 (dedicated to Nicolas Winding Refn and The Neon Demon) In seven [now eight] avant-garde directorial features spread across five decades, Chilean-born Alejandro Jodorowsky has, in his own inimitable way, allegorised the ordeals of life, the paths of reality and the masks of identity. His cinema is…

Rupture

Rupture (2016)

First published by Sight & Sound, December 2016   Review: “Don’t be scared,” says an unseen Margot down the phone to her work colleague Renee (Noomi Rapace). They are meeting later that weekend, hoping to confront their fears and have a transformative experience on a skydiving trip. In fact, Renee – an independent, resourceful divorcee bringing…

Flesh

We Are The Flesh (2016)

First published by Sight & Sound, December 2016 Review:  “Solitude”, declares Mariano (Noé Hernández), “drags you, forces you to come face to face with your darkest fantasies – and when nothing happens, you stop being afraid of your most grotesque thoughts.” Normally this bearded 47-year-old hermit enjoys complete solitude. In a dilapidated building, Mariano’s only…

Furious

Boyz under the Hood: Riding Again in 2 Fast 2 Furious

  First published by Little White Lies, as part of a longer contributors’ section on homoeroticism in film Much ink has already been spilt on the polyethnic world in which the Fast and Furious franchise unfolds. The prologue to the first sequel, John Singleton’s 2 Fast 2 Furious, illustrates this in microcosm, as whiter-than-white Brian O’Conner…

Spit

I Spit On Your Grave (Day of the Woman) (1978)

First published by EyeforFilm Our story starts in 1974, when film editor Meir Zarchi witnesses the aftermath of a brutal rape in a park and steps in to help the victim as best he can. Zarchi then decides to write a script as his artistic response to this horrifying experience and four years later, in…

Box

The Box (2009)

First published by EyeforFilm What does it mean when a person is struck by lightning? Is it an act of god? A freak of nature? A cosmic joke? An alien intervention? Magic? Inspiration? Punishment? And what of other, more human tragedies, resulting – directly or indirectly – from our own negligence, selfishness and moral blindness?…