two-character poster — Red block gunman with silhouette and still strip

A 1970s-style cinematic movie poster for a gritty crime action film, printed on warm off-white paper, with a giant signal-red rounded rectangle dominating its middle and a black-and-white gunman lunging across it. The off-white background leaves wide cream margins at the top and bottom of the frame. Across the top, centered above the red block, a bold rounded sans-serif title ("TITLE") in solid signal red spans two uppercase words. Inside the red rectangle, a black-and-white photograph of a middle-aged man with dark tousled hair and a hard, direct stare leans diagonally from the lower center toward the left edge of the frame. He wears a tweed-textured suit jacket, a patterned dark tie and dark trousers, his right arm thrust toward the viewer gripping a large black revolver. The gun's long barrel breaks the rectangle's left border, its muzzle foreshortened and pointed straight at the viewer. His left hand hangs low beside his thigh, fingers spread, as if he has just fired. On the right side of the frame, towering behind the man, a giant flat black silhouette of a sprinting human target fills the red field from edge to edge. The silhouette is edged with thin white contour lines and dotted with small white numbered scoring rings. In the upper-right corner of the frame, the silhouette's bent upper arm reaches toward the top edge of the red field. In the upper-left corner of the red block, the silhouette's other arm juts toward the corner. In the lower-right corner of the block, the silhouette's legs dissolve into soft photographic grain. At the center of the rectangle, the man's face catches the hardest light, his narrowed eyes locked forward. Along the bottom edge of the red block runs a narrow horizontal strip of smaller duotone action stills, all washed in red. In the lower-left corner of the block, the strip begins with a silhouetted figure toppling backward near a railing, followed by two men grappling. From left to right the strip continues with a kissing couple, a man firing a submachine gun, an Asian woman's face, and, in the lower-right corner of the strip, a uniformed police officer leaning over a car hood. No other legible text appears on the poster, and the strip images carry no captions. The lighting is high-contrast and theatrical: a hard frontal source carves deep blacks into the gunman's suit and throws hot highlights across his cheekbones and the gunmetal, while the flat red field and the black target silhouette remain evenly matte and unshaded. The palette pairs the flat signal red with stark black-and-white photography and warm cream margins, the small strip echoing the red in duotone. Overall, the poster balances the lunging gunman against the looming target silhouette above the busy red strip, in a signal-red, black-and-white and warm-cream palette rendered in a bold 1970s crime-poster style that feels brazen, pulpy and confrontational.