10. “Ingrid Goes West”
Public appearances can be deceiving. That’s common knowledge, of course, but how we we portray ourselves on social media — and how we advertise ourselves on the web (and who we sell ourselves as in our online society) — constantly blurs the lines between fact and fiction in our restlessly ambiguous world. Matt Spicer’s sorely overlooked dark dramedy “Ingrid Goes West” is a very present movie, filled with wit and introspection in our changing times. This poster beautifully and vividly capitalizes on such public personas. Along with its perfect tagline, “She’ll Follow You,” this Neon release, featuring arguably Aubrey Plaza’s best and brightest performance thus far in her perpetually rising career, is a stunning, gorgeously uncomfortable movie, filled with hilarity, reflection and biting social commentary. This poster rightfully markets it to today’s constantly fluctuating world. It’s at once relatable and alienating, captivating and intensely intimate. It’s a great reflection of this confrontational, hyper-relevant film. – WA
9.“On the Beach At Night Alone”
In its quiet minimalist simplicity, this poster lures the audience to look deeper for more.The multiple color layering of purple, pink and blue hues in the background harks itself to the multifaceted and possibly disparate narrative this film will inevitably contain.“On the Beach At Night Alone” is a film about the aftermath an affair between an actress and a married director, the focus is presumed to be the actress in contemplation looking forward but it’s hard to say what she might be thinking; could it be regret, nostalgia or something more?The ethereal mystery that lies within the image acts as a draw to the viewer’s curiosity, the colors making it warmly inviting.The significance of the color purple is not lost as it is tied to ambition, power and devotion; themes that could all be potentially relevant in this story.While the poster is seemingly simple, it also speaks volumes about what you might expect to see in this film by notable South Korean director Hong Sang-soo. – MO
8. “Thirst Street”
Leave it to one of 2017’s most stylish films, Nathan Silver’s twisted, dark fantasy “Thirst Street,” to have one of the most stylish posters of the year. Arch and delicious, “Thirst Street” is a Polanski-ian psycho sexual drama with devious comedic undertones about a depressed flight attendant who falls obsessively in love with a man she meets on a layaway in Paris following the sudden suicide of her lover. Bold, with colors that complement the stylish ones in the movie—akin to Rainer Werner Fassbender’s colorful, “Lola”—puts an emphasis on the juxtaposition of beauty and horror. The monochrome picture of Lindsay Burdge, holding her face, recoiling in terror is taken from the moment, her character find her lover dead from suicide, but of course, the rest of this one sheet, featuring softly-charged pastel hues, focuses on beauty, flowers and the skyline of gay Paris. It’s perhaps not 100% indicative of the film’s tone—which is perhaps wilder and much, much wickedly funnier—but in terms of visual aesthetics and something eye-catchingly striking and original, “Thirst Street”s poster more than fits the bill. – Rodrigo Perez
7 “Get Out”
There’s something unnerving about black and white photography. It’s the unknown, the unattainable, the un-ageable, the unquantifiable. It was the backdrop for the brilliant Surfer Guinness advert, it holds up in the noir palettes of Frank Miller. And it works well for this film of the unnerving unknown. “Just Because You’re Invited, Doesn’t Mean You’re Welcome” has to be the most well articulated horror slogan since the days of “Jaws” and “Alien” warned cinemagoers of the perils of water and space. Two eyes, staring evasively. So much is behind the eyes, perhaps a throwback to the work of Buñuel and Dali, wild with wonder, weary with worry. Get Out? Get in line, more like! (we like this version too)- Eoghan Lyng
6. “The Disaster Artist”
The poster for “The Disaster Artist” works incredibly well on multiple fronts. It highlights the physical transformation that director and star James Franco went through to look like the enigmatic “The Room” filmmaker Tommy Wiseau. The poster also succeeds in giving fans of “The Room” a greatest hits collection of bad choices in one still image. The unnecessary green screen, the weird holding of the water bottle, and perhaps the most quoted, awkward line of dialogue. Try looking at this poster and not hear Wiseau’s legendary line delivery in your mind. It’s impossible. This image could have easily been a collage featuring the all-star cast, appealing to the lowest common denominator of filmgoers. Instead, the focus was placed on Franco, and thus on Wiseau, who is the heart and soul of the film. – CD