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POSTER SALAD II: LOVE (NSFW…?), SEPARATION ANXIETY, CHAPPIE, BLACK SEA, COMET, JANE WANTS A BOYFRIEND, DOUGH, THE EDITOR, ’71

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If I’ve ruined your day already, well…blame it on the arthouse.

Anyway, I’m stoked as hell that Gaspar Noe has a new film coming. Irreversible is a horrifying, wrenching film–one of the most uncompromising portraits of assault I’ve ever seen. And Enter the Void is an out-and-out masterpiece. (I still haven’t seen I Stand Alone.) New Noe films don’t come quickly, so I consider this a real event.

And if you find this poster stomach-turning, well…it’s vintage Noe.

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Designed by Duy Phan and Melody Newcomb, respectively. (Source)

No idea what this movie even is. But I liked these posters–the one on the left for its pulp-fiction homage and the one on the right for its craftsmanship and trippy nature. No, they’re not the greatest posters, but some actual work went into them, and I deeply respect that.

Designed by Vox and Associates. ()

Designed by Vox and Associates. (Source)

I’ll be sharing the trailer as part of a future Trailer Salad, but let me say, if you haven’t seen it…it’s weird. Not in a trippy way, per se, but in a…”what is this movie trying to be?” way. It’s billed as a comedy, but…it seems to be going for pathos. I’m really not sure what this will end up being like.

The poster seems to hew closer to the comedy side of things, but it raises concerns. The gold chains that Chappie wears clearly reflect the influence of Die Antwoord (who are totally in this), and that could lead to some stereotypical material; Die Antwoord has faced accusations of racism before, and you could argue Blomkamp’s previous films have borderline-problematic racial politics (especially Elysium).

Maybe I’m being a little over-cautious, but I want to cover my bases come Chappie‘s release in March.

At best, this will probably just be a *** January thriller. That said, I dig this poster. Very 80s, with the portrait done in that all black-and-white (or in this case, gold) style, the stark simplicity, the Helvetica lettering…it’s a simple but effective bit of work. I like that the gold coloration is actually fairly muted–a lot of posters could’ve gone overboard with it, but they kept it subtle.

Designed by P+A. ()

Designed by P+A. (Source)

I’ve already discussed my excitement for this, but now that we have a poster, I figured I’d share it. It’s not a great poster, but I like the title lettering and it seems to capture the mood of the film fairly well. I’m just eager to see it.

I also have no idea what this is, other than it appears to be the first notable role Eliza Dushku has had in years. The tagline “Not Your Neurotypical Love Story” makes me think this could be pretty twee, but I just like the design–it kind of hearkens back to the late 60s or 70s, and the red lettering of the title is a nice touch. It’s the little things.

Designed by Coffee & Cigarettes. ()

Designed by Coffee & Cigarettes. (Source)

What? What the fuck? What the hell is this?

This might not stir up as much as controversy as his playing a biracial character in Miss Saigon, but still…what the fuck?

And that tagline…”It’s not just the bread that’s getting baked”…the hell? Is this movie secretly about weed?

Holy fuck, it is.

I also like that the director hasn’t directed a film in over 25 years and now has two films coming out in the next year. That’s the sort of weirdness that catches my eye.

Designed by Phantom City Creative and Akiko Stehrenberger, respectively. ()

Designed by Phantom City Creative and Akiko Stehrenberger, respectively. (Source)

Not sure if I’d go for this or not (this kind of self-conscious schlock is really hit-or-miss), but again, posters with a handcrafted feel (threading a projector with intestines…that’s novel). And I like the schlocky tagline. So it’s got that going for it.

Designed by Wonderland. ()

Designed by Wonderland. (Source)

I actually already used this poster the other day in my British Independent Film Awards post, but it’s a really cool poster, so I wanted to to cite it. I like the use of the title as a window to the the action, I like the use of color (blue/orange is overdone, but this is a good example of it), and it captures the scope of the film while also feeling a bit like a poster from 1971. This really is one of my most anticipated films of the year.

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One thought on “POSTER SALAD II: LOVE (NSFW…?), SEPARATION ANXIETY, CHAPPIE, BLACK SEA, COMET, JANE WANTS A BOYFRIEND, DOUGH, THE EDITOR, ’71

  1. Pingback: 2016 Rising: Actus Primus | If you want the gravy...

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