Iron hand, silk glove
Exhibition of film posters. In partnership with the Melgaço Museum of Cinema Jean-Loup Passek and in collaboration with the Guimarães Film Society. I'm particularly fascinated by Polish film posters from the 1960s and 1970s—not only for their disruptive aesthetic, but for the way they subvert the conventions of visual communication at the time. Born under socialist rule, where Western films were censored and media outlets were limited, Polish designers didn't have to follow the guidelines of studios or advertising agencies. Instead of illustrating scenes or photographic portraits of the main actors, as is common practice in European and American cinema, Polish posters embrace an expressionist and metaphorical aesthetic, an artistic interpretation of the film's emotional and thematic content. Distorted faces, saturated colours, grotesque or dreamlike collages, hand-drawn typography, and a profoundly artistic composition become hallmarks of this graphic school.