Most film posters are mainly photographic, what inspired you to choose a primarily typographic approach?
Exactly what you just mentioned; the very expectation of “what film posters should look like” was the biggest challenge for this series to take on. Of course, there are great examples of typographic film posters out there that were able to get away with using type as the primary focus of the piece, but they are certainly on the minority side.
There were multiple factors that led me towards the path I took with the identity – the former being one of the main reasons. Also, knowing that Rouzbeh is affiliated with the Remodernist film movement, I decided to do a more in-depth research on the premise of the original manifesto to be able to put things in perspective.
The main argument of the Remodernist film manifesto is the return to emotional and spiritual meaning in cinema – the praise for imperfect aesthetics, and the complete redefinition of narrative structure towards a more subjective cinematography. These ideas are derived from the ideologies of masters of modernist cinema such as Andre Tarkovsky, Robert Bresson, Michelangelo Antonioni, and Bela Tarr, to name a few. Diving into the world of early modernists, both designers and filmmakers, one can easily see the fundamentals of modernism carrying across disciplines. If you compare the works of Armin Hofmann and Robert Bresson, for instance, you realize that they resemble each other in many levels; the rhythm, the pauses, even the frame compositions. What fascinates me about early modernist designs is the general type treatment across the board – the very idea of type as an object that occupies space.
However, in the case of EFS posters, I was more interested in treating the letterforms as personas. The very interaction of the type with the images and other typographic elements on the page defines the type itself. Therefore, both type and image, used in each poster, are treated very similarly in the way they speak to one another.
There is always a hidden dialog back and forth between the letterforms and the snapshots taken from the film, and it is more obtrusive at times than others. So, in a way, these posters are a derivative of modernist movement but with a very critical systematic approach – a Remodernist turn, perhaps.