Tag: keyart
Friday One Sheet: HOT FROSTY (Sorry)
I apologized in the title, and I apologize again here, for propagating the deluge of Christmas themed romantic and family slop on the various streaming services. Recently this is providing much needed work for Lindsay Lohan, albeit Lohan does not appear the...
Friday One Sheet: PĂRVULOS
After featuring a number of key art that left the standard credit block out the design, it is nice to see this poster from Mexico's festival darling coming-of-age plague-zombie film, Párvulos, has a more traditional sense, where they are tucked...
Friday One Sheet: THE BRUTALIST
Typography is no stranger to the design of Brady Corbet's "Monumental" new film, The Brutalist. The credits in both the film, and its recent trailer, do interesting things. This carries into this iconic poster, with the Statue of Liberty upside...
Friday One Sheet: THE ORDER
I am generally indifferent to collage style posters, particularly when designers transitioned from hand-painted to photoshop. However, I do admire the commitment to verticality taken by design house, Fable, for Justin Kurzel's neo-nazi procedural, The Order. The pull quotes, the above...
Friday One Sheet: DEAD MAIL
Delightfully low-fi and textured, the key art for Joe DeBoer's and Kyle McConaghy's Dead Mail not only is a great reflection of the analog style of the film, but also offers a significant amount of information about the plot. The...
Friday One Sheet: GULIZAR
A simple, melancholy image forms most of the design for the key art of Belkis Bayrak's Gülizar. A woman in a car presses her hands up to the glass, eyes downcast, as if saying goodbye to her world for the last...
Friday One Sheet: HARD TRUTHS
Faces go a long way in poster; there is a wonderful pairing here. The design for Mike Leigh's latest film (premiering today at TIFF) uses text, both the soft yellow of the title, as well as above the line and...
Friday One Sheet: ANYWHERE ANYTIME
Anywhere Anytime, pays homage to Vittorio De Sica’s post-war poverty classic, The Bicycle Thief, but updated to the modern delivery economy. Like the stripped down cinéma vérité of that film, which nearly single-handedly created a new aesthetic of storytelling on film, the...
Friday One Sheet: ANOTHER END
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...
Friday One Sheet: SKINCARE
In past columns, I have spoken at length on the art of crying on movie posters, as it is a mild obsession of mine. These images are almost always female (the notable exception being Get Out), and almost always in...
Friday One Sheet: Trieste Science+Fiction Festival
The 24th edition of the Trieste Science+Fiction Festival gets a gorgeous illustration and design from Italian cartoonist Zerocalcare. Parasols, lanterns, and a jackhammer frame the characters from vastly different walks of life as twin moons fade off into the distance. ...
Friday One Sheet: THE SECOND
This beautiful watercolour poster for Tony Zhou and Taylor Ramos's The Second is hiding a subtle secret in plain sight. The short film centres around a pistols-at-dawn kind of duel, and the underlying complexity of motivations across two generations. The lead...
Friday One Sheet: TATSUMI
I remain ever a fan of taking a compelling still frame form the film itself, and composing it into key art. Below is the poster for Yakuza drama, Tatsumi, in which leads Yûya Endô and Kokoro Morita offer each other...
Friday One Sheet: RED ISLAND
When you have a film as gorgeously composed and framed as one by Robin Campillo (120 BPM), and set in one of the most beautiful places on earth (Madagascar), one of the best practices is to simply use a frame...
Friday One Sheet: FAYE
Lounging by the pool in a silk robe and stiletto heels at the Beverly Hills Hotel in 1977, actress and style icon, Faye Dunaway is shown in a kind of Sunset Boulevard-esque tableaux the morning after she won the Academy Award...
Friday One Sheet: LONGLEGS (Again)
Perhaps the best movie marketing effort of 2024, at least via its posters, has been for Osgoode Perkins' soon to be released Longlegs. We have always been ardent admirers of design house GrandSon, and, quite simply put, they have been...
Friday One Sheet: INFINITE SUMMER
Pink and Grey is the new Orange and Teal. The new film from the strange brain of Miguel Llansó, Infinite Summer, will premiere at Montreal's Fantasia film festival later this summer, however in advance of this, we have this love...
Friday One Sheet: THE SUBSTANCE
This buzzy body horror picture out of Cannes, is the sophomore feature from Coralie Fargeat, whose blood-splattered Revenge was a hit on the festival circuit in 2017. The Substance had a much more disturbing and visceral bit of key art, one that seems to...
Friday One Sheet: THE LAST STOP IN YUMA COUNTY
This cream-coloured, coffee focused, exercise in minimalism and symbolism is for the tight, one location 'bag of money' suspense thriller The Last Stop in Yuma County. I have no idea why, but i wish more designers would put the title...
Friday One Sheet: GASOLINE RAINBOW
Sometimes, typography makes the poster stand out. Consider the key art for The Ross Brothers' latest documentary, Gasoline Rainbow, featuring a black and white image of some kids on an automobile by the grassy shoulder of a long road. The...
