Compare that though, with these new designs from British design company LaBoca that are clearly influenced by poster design from the 20s and 30s, as well as the Polish and Czech designs of the 60s, those that I have previously drooled over on this very blog.
What's interesting is that despite being similar in a thematic and symbolic sense (each poster uses a human image, as well as that of a swan, and moonlight etc), the four posters become quite different visually when you imagine what tone they convey. At times, it can even seem that they are selling entirely different films. See which one you prefer:
Is it this one? The most classical, probably, of the four images, it looks almost like a poster for a crime thriller or a murder mystery or a film noir. The ballerina is built, rather superbly, into the swan's wing as if the two were made of porcelain, and the title and the words above hark back to the regency era and Noel Coward. Spiffing:
In this next design, we are presented with a tone more akin to horror movies. The Swan's nose splitting the ballerina's head in half reminds one instantly of the classic poster for A Clockwork Orange, and the bright, blood red, angular lettering at the poster's bottom looks as though it was designed for the cover of a Stephen King:
Poster three suggests, to me, something military. The way that the swan's wings are curled around the smaller figure in the centre of the design make the viewer think of badges, of regalia, of those authoritarian stamps that are emblazoned on fascist chests in dystopian science fiction and graphic novels like V For Vendetta:
And finally, a futurist's wet dream. This poster couldn't hark back more to the iconic Metropolis poster if it wanted to. Straight lines, shaded corners and a human figure made to look almost robotic, it is flooded with recognisable imagery, but completes a set of four designs that are both closely linked but greatly different at the same time:
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