Okay, not quite.
Lets wipe the stink of artistic failure from our collective memories and take a peek at three amazing works of poster artwork. Click all images to enlarge.
The poster for Lone Scherfig's One Day starring Anne Hathaway may look 1993 ad for a perfume named "Sunday Morning Suede", but I actually really dig it. A lot. I like the way the colours appear washed out like an old photograph, and yet they still pop out. I like the continued use of numbers throughout and I even like the slash between Hathaway and Jim Sturgess' names. Weird, I know. I guess I'm also just thankful that they've shown these two stars in an embrace and not some lame-brained, posey posey mess. Since they've branded the poster with their logo, I don't really need to tell you where it came from, do I? *grumblegrumble*
Via Cinematical comes this poster for Kelly Reichartd's Meek's Cutoff. A while ago I spoke of how the poster for Never Let Me Go looked too much like a book cover to properly sell the film, the same can be said for this and yet I actually think it works much better. Love the pencil-drawn image at the core, and while it is completely unrepresentative of the film the distributor has gotta sell those tickets somehow! Conjuring up memories of True Grit is probably not a bad way to go. I like the colour, which is so rarely used, I like the way the cast is laid out and the typeface has me drooling (I have a bizarre fondness for words fitting into other words like puzzle pieces.
From The Playlist comes... well, this. It sure is something, isn't it? The first poster for Pedro Almodovar's The Skin That I Inhabit is a blunted peek at the film's nastiness. A weird merging of "pretty" and "sickening", which sounds fitting for an Almodovar film with echoes of Eyes Without a Face. You certainly won't be able to blame the movie for people going and being turned off by all the scalpel action if they keep marketing the movie this way. It puts its cards on the table quite willingly, which is to be admired.
And what of Charlotte? Well, she doesn't get a poster, but there is some happy news! One of my absolute favourite films from last year was Julie Bertuccelli's France/Australia coproduction, The Tree and I was glad to read today that an American release date is on the cards through Zeitgeist. Indiewire reports that the film, a sublime rumination on life after death (Clint Eastwood should take note), will be released in New York and Los Angeles before a national roll-out. I hope my American readers will get the chance to experience The Tree for themselves.