This handsome, exceptionally well designed, one sheet for Ewan McGregor’s directorial debut, American Pastoral is eye catching in part due to the sepia-on-fire colour palette, but mainly due to the 90 degree tilt. Lovely use of both the large tree, and the negative space for which to put an unconventional title placement (notably in the smoke of the fire). Based on the Philip Roth novel of the same name, one can hope that the film itself is as good and thoughtful as the energy that went into the poster design!
I can’t stop posting marketing materials from Nicolas Winding Refn’s forthcoming feature, The Neon Demon. This one is from the prolific Mondo imprint, who always take a less marketing driven approach and go for something a bit more artistic. The inverted triangles are well featured in the film, so that design element makes sense, and otherwise, the geometric, sterile weirdness is entirely the tone of the film (which, btw I’ve seen and is one of the most brilliant uses of tone and structure since Mulholland Dr.). A strange choice to go black and white when the film is all about the use of colour, but in our photoshopped and instagrammed filtered world, a black and white poster, with no shades of grey, certainly stands out in a crowd. As does The Neon Demon.
I like the simplicity of this poster for Tim Godsall’s Len And Company: part street bill, part vintage broadsheet, and all vintage three colour offset. The poster has really only one major element, the films star, Rhys Ifans, who, by the way, is absolutely superb here as aging rocker turned producer, turned hermit. My review of the film can be found here.
Todd Solondz has been rather quiet in the past few years. Cinephiles in the 1990s immediately warmed to the tone of his awkward-by-design black comedy, Welcome To The Dollhouse, which featured a shy tween girl, Dawn Wiener (aka Wiener-Dog), getting into unpleasant situations. Now, 20 Years later, Solondz has made this sort-of sequel cum anthology film. Dawn Weiner (now played by Greta Gerwig, not Heather Matarazzo) is in one of the parts, but the film is not named after her. The wiener dog is quite literally present here, not just a nasty nick-name, and is the one element that binds the four stories together. The eponymous canine, or at least its hind quarters, are featured on the rather minimalist poster for the film,
The quite funny, and talent loaded trailer is also tucked under the seat, for the curious.
The spirit of Polish poster design is alive and well with this, the one-sheet for the final film from art-horror master, Andrej Żuławski. The director of 1981’s marital freak out, Possession, as well as 1996’s scandalous drug and sex laced Szamanka passed on this year at 75, but not before completing his final film, Cosmos who passed on earlier this year. It may look simple, but there are some nice details in this design, the branches of the trees looking like both dendrites and constellations, the woman’s face who is looking heavenward with one eye, but at us the the other. And the tiny bird token hanging from the branch about the title and super condensed credit block. This poster is a work of art.
Sundance hit, and brilliant act of cultural re-appropriation, The Birth Of A Nation got a striking ‘sepia-flag’ styled poster in both still form, and (below) motion form. This is the first time I’ve heard the concept of a motion poster expressed as a ‘living poster.’ Not sure if that is a construct of the marketing department here, or if this is a wider change in language for an advertising concept that has yet to truly take off. Either way, this is perhaps the best execution of a motion poster to date.
Still form or ‘living’ form, both focus on how things go from a single act of rebellion or idealism to a full blown movement.
After last weeks purples and gold glitter on The Neon Demon poster, I cannot help but continue the trend with hot pink neon. Nerve, is a film that considers the place where online social media narcissism meets money, and to communicate the computer aspect of this, the designer puts the perspective from inside the screen.
Now it can be a risky bit of marketing to not display the title of the film in a clear fashion. Some people put one of the reasons of failure for the Poseidon Adventure remake, Poseidon, based on the upside down typeface of the title. I don’t know if I subscribe in any way to this theory, because regardless of the quality of the film at hand, the poster unquestionably caught my attention and made me look a little closer. That is all a poster can ask.
The aesthetics of Nicolas Winding Refn’s recent run of films have lead to interesting and ‘out of vogue’ colour palettes. And yet, his ‘glossy and difficult’ cinema always feels fresh and gives the impression that it will back in vogue. Here, for Cannes festival poster for The Neon Demon, we get a spectacular collision of sparkly golds, reds and purples. And a neon skull in the typeface. It is also worth mentioning how effortless Elle Fanning pulls off a very low cut dress with intrigue and attitude.
A simple, but quite lovely, design for the upcoming adaptation of the novel, The Girl On The Train. I have not read the book, but clearly the designers are aimed at ‘you will not see what is coming’ with the zipper/train motif on a woman’s back, as she faces away from us. They used the stylized type from the cover of the source novel, fine, but why use a different font (and colour) everywhere else? Not entirely sure. It’s a quibble in an otherwise pretty striking, yet delightfully minimal poster.