experimental poster design — Multi-line title with close-up, diagonal composition

An experimental black-and-white movie poster nests recursive rectangles of a kissing couple's close-up beneath a slate-blue serif "TITLE" on a blank white field. The background is an expanse of empty off-white paper filling the upper three-fifths of the frame. In the upper-left corner, a three-line title in muted slate-blue serif capitals spells "TITLE", the lines stacked left-aligned in a quiet column. The emptiness presses down on the photographs below, making their density feel deliberate. Below the title, the white field stretches down unbroken until the photographs begin. Across the middle of the frame, the first and largest photographic rectangle begins, a black-and-white close-up bleeding off the left, right, and bottom edges. Inside it, an adult woman with dark eye makeup gazes upward, her face half-lit, while an adult man presses a kiss to her cheek with his eyes closed. Her dark eye makeup stands out sharply against the overexposed white around her. He appears to be in his thirties, his dark hair blending into the shadows at the frame's right side. A soft shadow pools beneath his chin where it meets her cheek. Nested within that rectangle, a second smaller rectangle repeats the same kiss at a smaller scale, centered slightly left of the larger one. The second rectangle's borders slice through the woman's hairline and the man's jaw, fragmenting both faces. In the center of the composition, a third and fourth rectangle shrink the image further, the couple's faces becoming small and dreamlike within the shrinking borders. At the innermost level, the woman's upturned face and the man's closed eye remain just recognizable. Along the left edge, strands of the woman's windblown hair stretch across the nested borders, linking the layers. In the lower-right corner, the largest rectangle's dark edge cuts diagonally against the white margin. The diagonal cut reveals a sliver of white margin beneath, emphasizing the collage construction. At the bottom edge, the largest photograph runs off the frame entirely. The crop feels abrupt, as if the image continues far beyond the poster's borders. The lighting is high-key and overexposed, faces emerging from washed-out white with soft gray shadows. Fine photographic grain textures the dark areas, and the nested frames' edges sit flat like collage, casting no shadow. The repetition creates a tunnel effect, pulling the eye inward through the shrinking kisses. Stark negative space above balances the dense recursive collage below, the white-black-slate palette rendered in an avant-garde collage style that feels disorienting and quietly romantic.