I have a fondness for upside–down styled posters, and the entire key art campaign for Eskil Vogt’s Norwegian supernatural thriller, The Innocents, makes me tingle. While I do not know if the film bears any connection to either the classic gothic horror bearing the same name, starring Deborah Kerr, or Henry James’ novella, The Turn of the Screw, I do know that it involves children with some kind of supernatural powers.
What really gets me here, however, is the symmetry and an urban kind of minimalism from international design-haus, IntermissionFilm. The triple 1970s apartment buildings with the brutal concrete architecture, and a childhood in this environment. There is something deeply disturbing about the chain of the sing standing perfectly straight up. Is it that sublime moment that kids aim for, when on a swing (wrap it!), or is it a kind of possession? The storm clouds may suggest the latter.
The text placement is superbly uncluttered, and echoes the symmetry of the swing triangle: The Cannes logo, the classic ‘art-horror film’ typesetting, the credit block over the darkest of the storm clouds.
Also, below, I have include one of the several character posters which continue with the minimalist upside-down theme, only to move the title card (satisfyingly) into the centre of the poster. There is an emphasis on texture of youthful skin and visage. They are all pretty magnificent.
As all Key Art should do: I immediately want to see the film after seeing these posters.
ScreenAnarchy – Friday One Sheet: THE INNOCENTS
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July 16, 2021