Each year, it gets harder and harder to keep up with the alt poster scene – there’s just too many prints/pieces coming out of nowhere, and too many of the are good. I’m sure I miss a few here, but this list represents the best of what I managed to find. To me, these artists took smart approaches to difficult material, or made us reevaluate older classics in a new way.

A Bigger Splash / Malika Favre: The devil is in the details, they say, and that couldn’t be more spot on with this piece. Created for The New Yorker, this illustration for Luca Guadagnino’s unsettling film says so much with so little. The composition is really clever, especially for a film that has psychological, intangible ideas.

The Witch / David Moscati: With The Witch, less is more, and it’s an approach that our friend David Moscati adheres to in the best way. The power of the film is in what you don’t see, and I love the dark charcoal mixed with shades of grey – this image feels like an idea that is just out of reach, and it’s scarier for what lies just out of the frame.

Mulholland Drive / Ise Ananphada: Probably the biggest upset in this entire list, because it’s so staggeringly beautiful, but comes from a cancelled commission. The rights for this one got tangled up, sending the project into the void, so the finished art is a painful reflection of what could’ve been.

The Hateful Eight / Jason Edmiston: Is there anything Edmiston can’t do? Like Tarantino’s film, the poster is a beautiful throwback held together by unrivaled skill. Edmonton’s technique is sharp, rendering a vivid group of misfits who are as rugged as their exteriors.

Alien / Jay Shaw: Easily the smartest in this entire list – I’ve never seen anything like this and I doubt we ever will again. Created for Alien Day, Shaw’s poster is printed on X-Ray film, evoking a scene from the film and sending chills down our spine. The print I wish I owned above anything else.

The Thin Red Line / Joao Ruas: Ruas has been circling the commission scene for some time, and it’s great to see Mondo snatch him up for this piece, something that captures the dark poetry of Malick’s film with stark simplicity and killer craft.

Rosemary’s Baby / Jonathan Burton: Roman Polanski’s film is one that needs no introduction, and Burton’s solution is a peek at something that seems like we shouldn’t be allowed to see. I love the angle, looking in and capturing a glimpse of hidden evil and domesticity gone wrong.

The Shining / Krzysztof Domaradzki: We’ve seen too many posters for this movie, and yet this one is sleek, stylish and with one hell of a type treatment. There’s a lot at play here and Domaradzki’s aesthetic is too good to pass up.

The Fly / Matt Ryan Tobin: My absolute favorite poster for The Fly, simply because it focuses on the love story, and to me, Cronenberg’s film is first and foremost a love story. The icky creature stuff is there, but, like the film, only exists to serve the torment and emotional dilemma going through each character’s head. To me, this one gets it right.

Lost in Translation / Matt Taylor: Even though this one plays off of one of the most iconic film stills, it still makes an impact thanks to Taylor’s smart use of color and the way he’s given it a context that ties the film’s ideas together. In one fell swoop, he’s created an image that transcends even more than it already it.

High-Rise / Raid71: Like the film, Raid71’s poster is groovy, and sharp, with a composition that doesn’t display more than it needs to. It’s minimalist but creates a vortex that draws us in till the bloody end.

The Conjuring / Randy Ortiz: I remember seeing this film for the first time and this particular moment sticking with me. Better than any floating heads, the atmosphere Ortiz creates here is palpable, evoking the film’s emotion and stakes with one creepy, unforgettable image.

Fight Club / Sam Wolfe Connelly: A front seat to the apocalypse. When the end of the world looks this beautiful, how can we resist. Fincher’s film ended in a bigger, better way than Palahniuk’s novel, and this reflection of it is just stunning. I love Connelly’s use of lighting, transforming a familiar image into something more abstract.

Sunshine / Nathan Chesshir: This one is as grand and epic as the original film, rendering the film’s massive scope in a way that accents the battle between humanity and inevitability.

Under the Skin / Matthew Woodson: Now one of my favorite sci-fi films ever, Woodson’s print is perfect. I think the image speaks for itself, an abstraction of the film’s most iconic scenes, literally stripping it down with cosmic grandeur. This one’s out there, and it can’t get any better.

SG