“The Sparks Brothers”
Who are, who is Sparks? It’s one of the central questions of Edgar Wright’s terrific Sparks documentary “The Sparks Brothers,” and the question is posed because the majority of the pop-loving public isn’t aware of or knows the wonderfully brilliant and eccentric brothers in Sparks, Ron, and Russell Mael. Sparks as a band are enigmatic, impenetrable for some, initially, wildly idiosyncratic and weird (but also catchy AF) and then on top of that elusive in their intentions. Are they a put-on? A joke? Are they sincere? Are they laughing or mocking you? Many audiences never knew where they stood with Sparks, a band as theatrical and performative, as they were infectious and hooky, and the subtle notion of the mask, representing each brother, with two different quizzical facial gestures, is alluring, inviting you to know more, aptly wry, clever and perfectly representational in the film’s notion of trying to pin down an identity for a band that was and is, ever-evolving. – RP
“The Souvenir Part II”
Calling the poster for “The Souvenir: Part II” simple does it a disservice – there is so much intention, and power in Honor Swinton-Byrne’s profile as she returns, alone this time, for the second part of her character Julie’s story. Director Joanna Hogg nods to the poster of the first film with soft lilac hues, and shadows saving a dash of color with inky blues rather than blackout darkness. But of course, there used to be two of them – now Julie is alone. The film explores the cathartic and healing power of filmmaking, and a single, megawatt spotlight beaming in from the left-hand side guiding Julie towards her future suggests this magic without needing to rely on any literal moviemaking homage. Her face conveys sadness, but a complicated one: longing, remembering, honoring what came before while forging bravely on without him.
“Spencer”
Pablo Larraín’s Princess Diana film is so far from a traditional biopic, and so its poster had to announce what was in store with the same kind of shocking, theatrical majesty. Some noticed the amusing parallels with the moment Jennifer Lawrence fell up the steps at the Oscars in 2013, but entertaining accidents aside there is a devastating elegance to the main poster for “Spencer,” as everything we thought we knew of Diana – the hair, the gaze, the poise – is hidden; a breathtaking sea of tulle and tiny jewels in its place. There is softness in the eggshell attracting the eye, and great pain in the abyss against which she is leaning. Beauty and emptiness, shame and resignation.
“The Tragedy of Macbeth”
The genius of the poster for Joel Coen’s “The Tragedy of Macbeth” might be found in its stark-ness, with no shadows to speak of and a simple rudimentary drawing of a bloody knife our only image – but in the presentation of the film’s title, too, is a knowing wink about how classic, yet subversive this new film is going to be. Simply, you do not mess with Wiliam Shakespeare’s words – and here the main event, the tragedy itself, is split in half, with other letters squeezing to fit and scuttling into place, at Coen’s whim. Created by celebrated designer Edel Rodriguez, It feels like it should be for a low-budget student production of the classic text – yet this teaser only makes the film’s surprises even more wickedly enjoyable.
“Vortex”
The way the human mind can betray and destroy us is unwieldy and quite terrifying. An aggressive maze of black scribbles closes in on an elderly couple just trying to hold each other close, tenderly, on the breathtaking poster for Gaspar Noé’s “Vortex.” It’s somewhat surprising from the provocative French auteur, in terms of having any kind of softness at the center. But the darkness, alongside the woozy handwriting threatening the presence of Dario Argento, Françoise Lebrun and Alex Lutz suffocates any kind of hope with a design that feels like it’s constantly moving, robbing you of any sense of control you might have been foolish enough to believe in. It’s all on Noé’s terms, as it always has been.
“The Worst Person in the World”
She doesn’t really look that bad, does she? “The Worst Person in the World” relishes the glee in admitting you’ve probably done awful things at somebody else’s expense, just to chase a tiny slither of excitement and happiness in your own life. A luminous Renate Reinsve runs towards a fantasy, a new beginning, and is frozen in motion with the kind of energy that only really comes in the first few days and weeks of falling fast and hard in love with someone. There’s an irony to the title, of course, but Joachim Trier’s film, and its poster, lack bitterness. It’s more of a wink, an acceptance of imperfect things that feel good and seemingly perfect situations that still must come to an end. Love would be far too easy if any of it made sense.
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