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On Polish movie posters

A framed poster for the film Powiększenie (Blow-Up) by Michelangelo Antonioni features a portrait made of small black, red, and purple dots. The poster rests against a white wall, above clutter including snacks and papers.

My friend Charlie read this article (The Insane History of Polish Movie Posters) the other day and ended up sending me a print of one of them, because he knew I’d like it, and he was obviously right. I was so excited to display it I whacked it on the nearest available surface, hence why it’s currently hiding behind M&S vouchers. I didn’t clock this initially, I was so taken in by the colours, but from the top of the stairs (and a little bit in this picture too) it looks like a face. It’s great.

A surreal, abstract poster for Who’s Afraid of Virginia Woolf? by Edward Albee. It depicts distorted, merging human faces with exaggerated features, skeletal elements, and jagged shapes. The text is in Polish, with dramatic, expressive lines and muted colors.

I promise not to turn this into a Polish Poster Blog, but another one of my favourites is the poster for “Who’s Afraid of Virginia Woolf?” by Franciszek Starowieyski. I have a print of it somewhere. I’ll level with you – it’s quite ugly! You’d think one of the keystones of good design is that the item is pleasing to look at, and this is anything but, so how exhilarating that an artist has the freedom to create something which doesn’t conform to that expectation? I think it catches your attention, which makes it very effective nevertheless. For a start, when I saw it on eBay I couldn’t stop thinking about it until I purchased it.

Here’s the article, and I recommend reading it if only to find out the fascinating reason behind why communist Poland had such a vibrant movie poster design culture.

The Insane History of Polish Movie Posters – sabukaru
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Newcastle Civic Centre & details, 2024

A person with a backpack stands on a brick plaza in front of a modern building with a cylindrical structure and a rectangular wing. A large wall sculpture of a figure is visible between the two sections under a cloudy sky.
A view looking down a concrete stairwell with angular turns and metal railings. The stairs are weathered, and shadows obscure the lower levels, giving a sense of depth and geometric patterns formed by the steps and rails.
A narrow passageway between two brick buildings features a tall, greenish, weathered copper panel above the entrance. The panel has a patterned, rectangular texture. Trees and a pathway are visible through the passage in the background.
A tall, modern building with a concrete tower featuring a green metal sculpture on top stands beside a glass office block. The sky is overcast. In the foreground, there is a geometric metal sculpture, and brick buildings are partially visible to the left.
A large window set in a gray stone building reflects trees and another building. Above the window are old, worn blinds. A white security camera is centered above the glass. In front, a metal railing runs along a brick walkway.
A grey, overcast day outside a modern building with vertical metal slats and large windows. Two white vans are parked in a lot with yellow lines. A person walks near an entrance, and a tall, windowed building stands on the left.
A concrete staircase with white railings leads to a closed entrance of a gray building. A sign at the top of the stairs reads: ATTENTION DOORS LOCKED THIS ENTRANCE IS NOW CLOSED. The sky is overcast and the area appears deserted.
A closed, dark wooden garage door with vertical slats is set into a grey stone wall. The door has a small overhang and a rectangular light fixture above. The surrounding ground is paved with concrete tiles, some areas mossy or weathered.
A passageway with marble steps and a green handrail leads to a modern metallic gate with vertical, irregularly spaced bars. Fluorescent lights are set in the ceiling above, and part of a person’s head is visible in the lower right corner.

My iPhone’s camera really can’t convey the heft of those double main doors at the end. It’s definitely a tactile experience, not a visual one.

I also suggested to my boyfriend that we get married here, on the strength of its’ modernist credentials, and he literally did not dignify that question with a response. 😒

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Hadrian Bridge, Newcastle, 2024

A concrete pedestrian bridge with circular windows and a Newcastle University sign spans over a curved road. Bicycles are parked under a shelter on the left, trees and cloudy sky are in the background, and a metal fence runs along the foreground.

The rather pompously named, but still pleasant, Hadrian Bridge, over Newcastle’s Central Motorway.

This may be a good time to shout out Newcastle University’s Co-Curate website, which has come in extremely useful when factchecking (believe it or not, I do bother), and comes with a very rich library of pictures of buildings in the city, which came in useful when researching my one building across three eras post a few weeks ago.

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