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If you’re familiar with the John Wick franchise, you know the character sacrificed his place within its mythology’s realm of protection. He was declared “excommunicado”—a man on the outside looking in. And since the Continental Hotel is the physical embodiment of “in,” placing Wick behind a closed door emblazoned with its name perfectly portrays wh...

A wonderful illustration hewing towards paper craft, this one-sheet is unlike anything else at your local multiplex. Sam Smith goes all out with Our Timeto create mood and recreate emotion. The bull is at once representative of the creatures raised by the film’s leads and a symbol of the unpredictable tumult their relationship is currently combatin...

A gorgeous film with gorgeously restored, unreleased 70mm footage from 1969 deserves an equally gorgeous poster. Gravillis Inc. not only found (or created) a wonderfully-composed shot to intriguingly place an off-centered celestial body within its circular frame-within-a-frame, but they also retain the film’s natural grain to capture the awe-inspir...

While the majority of Peterloois much quieter in its dialogue-driven politics than AllCity’s advert promises, no one can fault the choice to focus upon its incendiary climax. With orator Henry Hunt speaking to an engaged Northern England crowd at top and the carnage ignited from a long-building calvary charge of Southern England aristocratic might ...

While you may think you’ve seen this poster before, I’m going to guess it’s never been this good. Why? Because too many firms wield redaction without possessing the guts necessary to let its concept breathe alone. Tobias Røder’s Cold Case Hammarskjöldhas them in spades, however. To show important information everywhere anyway proves you’re using th...

There are a lot of leaves in Simplissimus’ art director Scott Meola’s graphic illustration for La Flor, but I don’t see any flowers. The title therefore becomes a substitute for itself—a singular white bloom peeking out from behind the scene’s otherwise black and green uniformity. It’s a powerful, minimalist statement especially considering its bra...

P+A delivers one of the year’s most beautiful images with Birds of Passage. From the gritty texture to the muted, almost sepia filter to the billowed sheet of red rising against gravity, it’s quite a sight to behold. That’s all without digging deeper into its exquisite detail work: the careful symmetry of a title block working credits into its step...

The captivating imagery Kim Sang-man puts to page with Parasiteproves a delicious puzzle to unpack. Why are some censorship lines white and others black? Is that a dead body? A giant stone? There’s obviously a good vs. evil, predator vs. prey vibe at play, but who’s who? Spying could provide an answer (if one even exists), but our cover’s been blow...

One look cemented Akiko Stehrenberger’s vivid optical illusion atop this list. I hadn’t seen Portrait of a Lady on Fireat the time and yet it felt as though I experienced its entirety in an instant. That it simultaneously proves a portrait of the film’s lustful emotion in positive (thickly slathered paint as inferno) and negative (lips converging t...