Movie Poster of the Week: The Posters of the Stenberg Brothers
Adrian CurryOur first collection of the vibrant and dynamic Soviet posters made by the Stenberg brothers.
Our first collection of the vibrant and dynamic Soviet posters made by the Stenberg brothers.
Hot stuff! Too hot for the censors, but hot enough for you. Scandalous lads and ladies revealed—inside!
This superb new UK poster for Paddy Considine’s Sundance award-winning Tyrannosaur is by screenprint artist and gig poster designer Dan McCarthy (noted as “one of Paddy’s favourite
“I can’t see you, but I know you’re there.” For me, the great Peter Falk, who passed away a week ago at the age of 83, earned his angel wings for three pictures: Wings of
I’ve been looking for an excuse to feature this poster for some time but since I still haven’t found one, here it is anyway. The poster is for the 1968 Japanese horror film Yôkai
For this year’s incarnation of the Alamo Drafthouse Rolling Roadshow, someone had the excellent idea of commissioning the artist formerly known as The Small Stakes to design a series of posters
As I’ve mentioned before, movie posters are not much in evidence around the theaters of Cannes. One striking exception though was this stunning poster for Uszula Antoniak’s Code Blue which
Movie Poster of the Week is excited to be unveiling the exclusive world premiere of the newest poster from the man who may be the hottest designer in the independent film world right now: Sam Smith
The end of the world will be beautiful, or so says the Polish poster for Lars von Trier’s Melancholia, quite fittingly on the eve of the Rapture and in the aftermath of Von Trier’s cataclysmic
Mathieu Ravier, who writes about movies and movie posters from down under at his blog A Life in Film, recently alerted me, via Twitter, to a wonderful collection, on the website of the French newspaper
A few weeks ago I featured a couple of posters by the French illustrator Roger Jacquier, also known as Rojac. Since then I’ve tried to find out as much about him as possible, but have gleaned little
When I first saw Clio Barnard’s The Arbor a year ago at the Tribeca Film Festival I thought it was hands down the best film there, if not one of the best films I saw all year, but also an