"VITRINE" (part 2)

Against a dark background, the silhouette of film director Alfred Hitchcock appears, but mysteriously. Just like the thrillers that made him famous, the director is surrounded by two contour auras: one bluish, suggesting mystery, and the other red, offering tension.

There is a bat with woodcut traces placed upside down. The composition is coloured with shades between purple and red. Using optical effects to cause discomfort is an excellent way to draw attention to the visual field.

For this particular exhibition of silent films from the beginnings of Cinema, the option was to compose the movie's information that made up the exhibition in an aesthetic similar to the text cards of silent films.

In honour of the 50th anniversary of the release of the film "Terra Em Transe" by Glauber Rocha, the proposal was to build a poster for the event based on the various "crosses" that the fictional country of Eldorado carries.

In the special session alluding to the Brazilian Cinema Day, the film "Vidas Secas" by Nelson Pereira dos Santos was shown to the public. The idea was to portray the dog Baleia as long-legged, bony and dry like a burnt matchstick.

The poster is based on an iconic scene from the film (spoiler-free!) and redesigned in a more neon and reductionist version.

The Ingmar Bergman film show had a powerful character in the drama of the characters.

Fragments of the films were selected, and it was tried to apply graphic magnification reticles, giving a serigraphy effect, to bring posters closer to the covers of old books.

There was an intention to bring posters closer to the covers of old books - something that refers to the density and depth that the works of the Swedish director manage to achieve.

For the Dystopia Exhibition, a collection of science fiction on the subject, the weight of the word already served as a solution, like a voluminous curtain spilling over into the pitch black. Dystopia is a discomfort, but it spreads slowly, like a warning.

At the Mostra Perfil de Cinema - Peter Jackson, three films by the director were offered to the public. These are titles already known in the American cinema mainstream.

Movements such as the Golden Age of Polish posters in the 50s and 60s, or hand-painted movie posters in places like Ghana or Nigerian Nollywood, give the dimension that new versions of posters can contribute to the consumption and local recognition of construction.

For the Cineteatro, in Fortaleza, we sought to compose posters with the vibrant colours of our city, although relying on palettes bordering on psychedelia as a way of honouring the Fantasy genre.