A single typographic gesture and a series of portraits at the edge of performance. Together, they reflect the film’s tone: stark, deliberate, and utterly unflinching.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Lars von Trier arrived with a clear concept: two parentheses, spaced just right. A shape that suggested more than it showed — and showed more than most posters would dare. Our role was to make it precise. Typography, proportion, restraint. No image, no explanation. Just the title and two marks on a page, and the tension between them.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
Where the typographic posters implied, the posters of the cast exposed.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
The portraits walk a careful line. They’re staged, but not exaggerated. The expressions feel real enough to unsettle, and just artificial enough to hold at a distance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
What’s on display isn’t sex, exactly — it’s surrender. A kind of intensity that cancels out performance.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
Each image sits in isolation, but together they form a chorus. A catalogue of faces caught in the moment of letting go.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
The two parentheses — now embedded in the title. Just enough to disturb it. Just enough to leave a mark.
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
Photo: Christian Geisnæs
