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…
I Love Paris US première at Brooklyn Horror Film Festival, 15th Oct 2026 “This is a little thing that I made to not forget that I’m in love with music,” says Paris (the brilliant Aminata Thiboult) at the beginning of I Love Paris, as she holds up to the camera one of the tschotschkes around…
Heat of Madness (Le Pont des fiévreux) world première at Sitges, 14 Oct 2026 “There is no greater pain than to remember, in our present grief, past happiness,” reads the textual quote that opens Heat of Madness (Le Pont des fiévreux) – and the fact that it is excerpted from Inferno (Canto V, 121f.), the…
Galicia! world première at The Downtown Festival, 13 Oct 2026 Galicia! is, like Matt Reeves’ Cloverfield (2008), a found footage palimpsest, where video comes with layers of recorded material and of meaning, and ends up capturing and encoding more than its (intradiegetic) makers had originally intended. This principle is jokingly laid out in the film’s…
After Blue (Paradis sale) reviewed as part of Anti-Worlds’ Divergent View – The Feature Films of Bertrand Mandico Limited Edition 3-Blu-ray box set, also including The Wild Boys (2017) and She Is Conann (2023) We are introduced to the world of Bertrand Mandico’s After Blue (Paradis Sale) by a female voice – indeed by the voice,…
Benny (Luke Bracey) parks his car in the dark near a bar, quickly flosses his teeth, chews on a breath mint, glances at photos of a woman, winks at himself in the rearview mirror, and enters The Oubliette with a bunch of flowers in hand. This romeo is on a date and out to score,…
They Always Come At Night (Los que vienen) world première at Grimmfest, 11th Oct 2026 They Always Come At Night (Los que vienen, literally ‘those who come’) opens with a young Civil Guardsman (Unai Machado) visiting a morgue at night to follow up a complaint from a local about “the condition of their relative’s body”….
Stronger Than The Devil (Plus forts que le diable) UK première at GrimmFest, 11 Oct 2026 A ‘Casanova’ (Axel Perin) approaches a woman (Marine Vacth) drinking alone in a bar, and her response – at first paranoid bewilderment, and then glass-smashing violence – is entirely disproportionate, and utterly unexpected. This cold open to writer/director Graham…
Crawlers UK première at GrimmFest, 10 Oct 2026; available on Digital Platforms 9th November and DVD 7th December, via Signature Entertainment “For every single person there are three million spiders,” reads the text that opens Crawlers. “If spiders decide to eat humans,” it goes on, “we’ll all be dead in one year.” Spiders do not…
Disforia UK première at Grimmfest, 10 Oct 2026 Christopher Cartagena’s feature debut Disforia opens with both Paradise, and Paradise Lost. For there is an idyllic Spanish woodland, all rich green flora and babbling brooks – and then there is a woman (Aleida Torrent) sitting in her parked car and looking sadly at a photo of…
Hallowarrior Australian première at Monster Fest, 10 Oct 2026 After refusing to put down the knife with which she has just carved a pumpkin, claiming that she needs it to protect her mother, little Pumpkin insists that she is “not a warrior” but “a Hallowarrior”. This scene that opens writer/director Ben Sottak’s feature debut is a…
Found Alive world première at Sitges, 8 Oct 2026 “You’ve not even touched your crickets,” says Berkeley student Reeve LeClaire (Chloë Grace Moretz, excellent and intense) to her pet tarantula Persephone, near the beginning of Carlota Pereda’s Found Alive. The spider’s name is not insignificant, given that the Greek goddess Persephone was abducted and dragged…