It’s always interesting to look back at the year’s film art and see what kind of trends were going on. Judging by this horror-centric collection of favorites, it looks like the genre left all others in the dust. There are some smart collages, lots of portraits with inventive type treatments, and even some beautiful illustrations. Concept heavy posters took a back seat this year, but there are still a couple mixed in.

These are in no real order, I love them all…

Southbound / Gravillis Inc: One of the best films that no one saw this year. It’s the ultimate horror anthology, one that one-ups the entire genre and creates a perfectly closed loop of evil, desperation and damnation. The poster illustrates these ideas in a really clever way, and makes even more sense once you’ve seen the film. OUR REVIEW

Antibirth / We Buy Your Kids: You can’t go wrong with anything that Aussie duo We Buy Your Kids does. For this poster, the pair have created an illustration that is just a wacky and bizarre as the film itself. This film is something that grabs you by the throat and really sticks with you, and WBYK’s art evokes the same kind of response, drawing us in with nuance and lots of fun texture. OUR REVIEW

The Invitation / Boland Design Company: Out of all the films on this list, this must’ve been the hardest to concept for. The film is best experienced when you know nothing about it, and yet, this simple photo hints at the kind of domestic fracture that’s in store – without giving away the film’s biggest secrets! Go see this one right away! OUR REVIEW

Raw / P+A: Like The Invitation, the less said about this the better (you just gotta see it). The poster is a striking image that speaks for itself – there’s some grain for grit, and an over-saturated image that’s also beautiful for it subtlety. That type placement is perfect! OUR REVIEW

High Rise / Empire Design: As chaotic and twisted as this film is, I love that they went with a simple, clean and almost elegant solution. Fitting the film, the poster’s dimensions are much larger than the norm, creating a vertical portrait that gives us a momentary sense of motion. The red sky is hypnotic. OUR REVIEW

The Handmaiden / Empire Design: There are a few different posters floating around for this one, but this illustration takes the cake. It appears simple, but is actually a low key roadmap of the film, one that evokes its elegance but also the darkness that hides beneath. OUR REVIEW

Free Fire / B O N D: Two Ben Wheatley films on the same list! This one’s easily one of my most anticipated of next year, with its killer cast and a vibe that looks off the hook. In concept this poster could’ve been cheesy or overdone, but it came out pretty crazy and I love it.

John Wick Chapter 2 / LA: This one’s just a given. Look at that black suit. No title, billing block or cast rundown needed. We know what’s coming, and that’s all we need – bring it Keanu!

Moonlight / InSync Plus: This one takes the portrait idea and mirrors the film’s structure itself, fracturing its main character at different points in his life to create the bigger picture. Sometimes less says more, and this is definitely the best example of that.

Don’t Breathe / The Refinery: I just really love the colors and composition in this one. There’s something really off-putting yet alluring about the vibrating colors, and it’s one of those photos that puts us on edge because it keeps us guessing and floods us with ideas. OUR REVIEW

Guardians of the Galaxy Vol. 2 / BLT Communications: This is perfect. There’s never been another “superhero” poster like this, and I love that they look like the weirdest, coolest rock band. The black and white seals the deal.

24 x 36 / Matt Ryan Tobin, Sara Deck, Paul Ainsworth, Joshua Budich, Gary Pullin: There’s no way you could have this list without this poster. It’s the brainchild of the best indie artists, and is a true collaborative effort. Each number and letter in the title was handled by someone different, but it all coheres into something great. I can’t wait to see this movie!

The Love Witch / Michael Koelsch and Fred Davis: Another painted piece – like the film, the aesthetic is a spot on throwback to the old exploitation horror films of the 60s and 70s, but there’s still an inexplicable modern tough to it. It’s got a mischievous tagline, and I love the yellow highlights around her head. OUR REVIEW

Patriots Day / LA: This is probably the smartest concept here, with photography that calls out its subject matter in the most respectful way, even while conveying a sense of hope for what’s sure to be an intense film. They really nailed this one.

The Lure: This may very well be my favorite on the list. I got to catch the film earlier this year, and it’s great, but not an easy watch. The painting here is gorgeous, calling out the unease between the film’s fantasy elements and the temptation of domesticity in the best way. I also really love the lighting and typography here. Definitely a film to watch out for when it comes out early next year, and a poster that’s as alluring as a siren song. OUR REVIEW

SG