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Movie Poster of the Week: The Best of 2010

Love Still Here

Tied for 1: I AM LOVE and I’M STILL HERE

My two favorite movie posters of 2010 – one for one of my favorite films of the year, the other for a film that I didn’t even see (not from lack of desire, though Casey Affleck’s opening weekend fess-up dampened my enthusiasm somewhat), and a perfect pair.

I have a lot of affection for the simple movie poster that places perfectly chosen type on a beautiful film still, but these are something else. For one thing, their images are portraits rather than film stills (Tilda Swinton at her most elegant, Joaquin Phoenix at his most studiously disheveled), and for another, the title treatments are given equal billing to the image, seemingly fighting with it, potentially overwhelming it, ultimately embracing it. It’s nice to see serif and script fonts being used so stylishly in the age of sans-serif minimalism; I only wish I Am Love didn’t have to devote so much real estate to the billing block, something I’m Still Here dispenses with entirely (instead crediting the designers and photographer). I Am Love was designed by The Refinery, I’m Still Here by the great Kellerhouse, who also designed my favorite poster of 2009.

Black Swan

3. BLACK SWAN
The most talked about and blogged about movie posters of the year were a series of four limited edition illustrated teaser screen prints for Black Swan, created by UK designers LaBoca. They are brilliant and there is not much more to say about them other than that I wish I owned a set. This was my favorite of the four, the design that best captures the sinister transformations and malevolent couplings of the film itself.

Expendables

4. THE EXPENDABLES
Sylvester Stallone’s all-star tough guy revue The Expendables (a left-field favorite of some of the MUBI team) boasted the usual slew of character posters and ensemble posters (IMP Awards has 22 different designs), none of which were anything special, but this beautifully illustrated Mexican poster is in a league of its own.

American

5-7. THE AMERICAN; AND EVERYTHING IS GOING FINE and CARLOS
The revenge of monochrome. Though it isn’t perfect, the poster for The American was nevertheless a sight for sore eyes in multiplexes this summer (it was definitely the only one of the posters in my list that I saw on subway platforms). Sam Smith’s similarly retro poster for Carlos takes up the ’60s action movie gauntlet thrown down by The American and comes up with something more authentic, which I’m proud to know Movie Poster of the Week had something to do with. And, included not just because these three posters look so perfect together, the duotone poster for Steven Soderbergh’s Spalding Gray doc And Everything is Going Fine is a masterpiece of simplicity. As a matter of fact, it would also work really well posted next to…

Fish Tank

8. FISH TANK
The Australian poster for Andrea Arnold’s Fish Tank, (another of my favorite films of the year) designed by Jeremy Saunders (he of the Antichrist scissors), is the one Fish Tank poster that gets it right, conveying both Katie Jarvis’s exuberance and her council flat confinement. And Jarvis really looks as if she is floating in a tank of water. (If only Criterion had used Saunders’ design instead of this). It also has one of the best solutions to excessive type (quotes, awards, taglines, credits galore) that I have seen for a while (and dig the shadows which continue the floating effect). Saunders’ design for The Parking Lot Movie can also be seen in the runners-up below.

Sweetgrass

9. SWEETGRASS
Did I mention my love of perfectly-chosen type on a beautiful film still? This might be the nicest example I saw all year. Come back Helvetica (Neue Ultra Light), all is forgiven.

Enter the Void

10. ENTER THE VOID
From minimalism to maximalism. I didn’t truly appreciate this poster until I saw the film, but now I know how perfectly it conveys its garish neon-hued universe and its vertiginous omniscience. I’m not even sure how this poster was made. Is it photography, is it illustration? I also love the multi-font credit block running down the side of the poster (the very same credits which strobe by during the opening of the film itself). For full effect, see it in detail.

Feel free to disagree (what, no Inception?) but below are the rest of my Top 40 movie posters of 2010, in no particular order other than a very deliberate aesthetic one. Happy New Year to all.

MontageMontage 2

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Comments

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I agree with you on Sweetgrass. Helvetica 35 makes anything look beautiful.

 

talking ’bout which I higly recommand you watch the Helvetica documentary. It’s about said font and how it influenced modern day graphic design.
http://mubi.com/films/2334

 
sephiroth180 18 January, 2011 @ 5:52 pm   3

The poster for The Expendables looks freakin’ weird 😛 I like the ones for Enter the Void and Fish Tank looks pretty good though. Black Swan just looks… weird, but I wanna see that

 
winkelwagentje 18 January, 2011 @ 7:09 pm   4

Great picks. I have the Enter the Void poster hanging on the wall in my bedroom. Loved it the minute I saw it. 🙂

TehPhilosopher 18 January, 2011 @ 9:01 pm   5

Ahhhh movie posters. Good choices! My favorite was the understated vintage-looking poster for A Single Man http://bit.ly/gWSoli It stopped me literally in my tracks walking past a tram stop.

 
makingdamage 18 January, 2011 @ 10:16 pm   6

I want to see I´m still here and enter the void, they both looks very interesting. Make it happen Mubi! 😛 Fish tank is great!

There are some nice posters there but I don’t feel like anything relly stands out and makes me notice it.

I Am Love has the obvious nice touch with the title and Tilda. I’m Still Here has a similar nice touch where the title disappears. But the text is invasive though sure they are not as bad as the Social Network text which is just annoying.

The Expendables poster is a poster too good for the movie and the Black Swan limited posters are great but I prefer the simple photograph of Natalie Portman ( link works? )that they show on posters here in Australia.

The Enter the Void posters fits but remove the side bar please. Keep it as clean as possible.

I agree with Fish Tank though, that one lifts the concept.

 
IIIKAGEIII 19 January, 2011 @ 5:17 am   8

i am love imo.

 

I’m Still Here was the worst thing I watched from 2010, Jonno.

 

definitely want to see Enter the Void after watching the vid of the opening credits – a film with music from Throbbing Gristle and Coil and LPD or did I just hallucinate that bit

wiktorclunk 19 January, 2011 @ 5:22 pm   11

When poland??????????