The second poster for Piero Messina's Another End features two lovers sleeping towards each other, almost touching hands, on an 'endless' bed of beige. For me, it evokes the key art for Atom Egoyan's 1997 Canadian masterpiece, The Sweet Hereafter.
The image is a compelling one, but what drew me to the poster was the typesetting of the title. By simply bolding select letters, Italian designer Federico Mauro subtly indicates the story of the film, or the central relationship between Gael García Bernal's and Renate Reinsve's characters with "THE END"
Pretty much everything else, the festival logos, the credit block, and other funding sources, is designed to stay out of the way of the central image and the title. Even the colours are muted to help emphasize the type.
An Australian variant one-sheet for The Sweet Hereafter, for comparison.