Part one of the my top twenty favourite film posters of 2010. In no particular order.
Disclaimer: I have not seen all of these films, nor have I necessarily enjoyed all of the ones I have seen. This list is my attempt to draw attention to the fact that film posters, in the most traditional sense, are sadly overlooked as an art form, and don’t reflect my sentiments toward the film itself. Posters function much in the same way album art work and book covers do; I tend to judge a film by way of its poster and, if you’re like me, snap decisions are inevitably made. For most, the make or break test comes in the form of a trailer, but the truth is, posters and print advertising are in fact the most pervasive of all tactics used to plug an upcoming feature. It’s one thing to see a trailer on television or at the cinema, but it’s quite another to pick up a paper, drive down the street, use the internet, sit on a bus, or walk into a store without being accosted by some kind of film promotion. Think about it. Just how clever do designers have to be in order to get our attention? And can they create works of art while also serving the purposes of publicity? In the end, it is no surprise that most of these posters are from films nominated for Oscars. Just sayin’.
1. True Grit: mimicking an old Western wanted poster is a smart move. What is on the surface a seemingly obvious choice is actually a pretty powerful tool. What do we know? Well, most people know this version of True Grit is a second rewrite of the Charles Portis novel, which could be a deal breaker, and therefore a hard sell. The result is a poster that is inoffensive to original fans, while still appealing to everyone else on presentation alone. The real beauty of it? In a single glance, we know all we need to know about this film: the who’s who, the all important title, the general state of affairs (a promise of blood, gun slingin’ and retribution!) and finally the genre, all without sparing a single image from the film itself. This is a true teaser poster: minimalist, effective and, in classic Coen Bros. form, subversive.
2. I Am Love: this gem is a poster of subtle visual cues prompted by textbook composition. First of all, by wrapping Tilda Swinton in the sweeping typography of the title, she is several times the focal point. Include the bold dress, her rigid posture, the room in which she sits, her relationship to the other figures (whose faces are noticeably concealed), everything about this poster is classically orchestrated; nothing about how we look at this image is an accident. We are meant to conclude she is matriarch of the family and protagonist of the film, and that there is more going on here than meets the eye. Tilda is literally wrapped up in love, and yet challenges it head on with her cold stare. This is juicy stuff.
3. Toy Story 3: this is the ultimate example of what a strong franchise can do for studios. Advertising is as simple as letting the characters speak for themselves. There is no need for actor’s names to draw audiences. There is definitely no need for a title. This poster is capable of saying everything by saying nothing at all. And by god, if those new additions aren’t the cutest.
4. Somewhere: I am a huge fan of Sofia Coppola’s posters because they all followed the same format, a format of which a few examples on this list follow verbatim. This format includes a simple, unassuming photograph, significant to the film (though not necessarily a screen shot, or spoilery), followed by an atypical, sometimes narrative, typeface for the title. That’s it. No bells, no whistles, nothing. Just the occasional tag and of course the necessary names. Sofia does have the advantage of being established enough to dish out such sparse work, but I never see any harm in keeping it uncomplicated, especially when the film is as visually uncomplicated as Somewhere.
5. Animal Kingdom: this poster is nothing if not striking. It reveals nothing beyond the admission that it is, in fact, a crime story. And while I have not seen this film (or even really know what it’s about), I am at least compelled to see it. Compelled by the mere fact that, yes, I like the poster. A lot.
6. Buried: conceived by Ignition Print (who are responsible for the genius District 9 campaign, among others), this poster is actually one of five versions, all of which are impressive works. I chose this particular version for two reasons: it pays homage to iconic artist Saul Bass (best known for his work on Hitchcock posters), and in doing so, is one of many posters from 2010 that harkened back to early graphic composition and design, that in the grand scheme of things, is now sadly under referenced. This resurgence bodes well for poster pundits, artists and moviegoers alike, because it is putting the attention back toward the fact that posters are legitimate works of art that do more than simply plug a film. Refer to Olly Moss for example. You won’t be disappointed.
7. The Social Network: taglines are often my least favourite part of film poster’s. They are often cheesy, sometimes completely misleading and more often than not they are redundant, or even distracting. This tagline however is pretty swell, because it serves a two-fold purpose. While providing some context and setting the tone for the film, the tag also creates a little subtext for Jesse Eisenberg’s blank, unlikeable face. You have to ask: who the fuck is this guy? The side bar is a nice change from your average title structure. The title’s artful display in true Facebook form is a nice touch, but I must admit, I’m tickled by the placement of the website within the search bar. Call me easily amused, but there’s nothing I like more than when everything has its place.
8. I’m Still Here: for such a controversial film, this is one understated poster. The indubitable love child of The Social Network, I Am Love and Sofia Coppola’s aforementioned formula, this poster has one thing that none of the above possess: a typeface that tells a story. Much like Joaquin Phoenix, the font is half there, half not. And frankly, what else do you need to know?
9. Blue Valentine: honestly, at first blush, there is nothing particularly special or striking or beautiful about this poster. But it is attractive. From the attractiveness of the image, to the attractiveness of the fact that it’s a love story, to the attractiveness of the hand drawn title, to the fact that it stars two of the industry’s most attractive actors: this poster is one glossy, giant broadsheet of attractive. Nothing about it is mainstream Hollywood, which must mean something to someone (look at the leather, the plaid, the grungy boots!). Besides, as a girl, I know I would love to be kissed like that, so yes, I’m not ashamed to admit this poster made my top twenty for questionable reasons. In conclusion, it’s the renegade little poster that could, and you’re totally going to see the crap out of this movie, aren’t you.
10. Black Swan (International): this poster is one of four international art deco, Nick Gaetano-esque gems designed by the UK design firm La Boca. It is a series that puts our Stateside posters to complete, total, and utter shame, and we should be embarrassed. That is all I have to say.
