silhouette poster design — Silhouette · Oversized Title · High Contrast

A horror poster of two black silhouettes facing each other in a chapel of crosses, blood spattering the frame. The background is a dark stone chapel: a tall bright window glowing white at the center, the light blinding and holy, crucifixes and crosses of all sizes mounted on the dark walls, the crosses leaning inward as if watching, judging, an altar with a white cloth at the left, tall candles guttering, dust hanging thick and golden in the light. At the top, a line of white text at the very top edge credits the team behind a famous horror franchise and calls the film the century's most terrifying, most documented paranormal event. In the center, two figures in pure black silhouette: on the left, a woman with long, loose dark hair in a nun-like habit, the black habit flowing to the floor and pooling around her feet, her arm extended toward the other, palm open in warning; on the right, a tall robed priest figure, head bowed very low, facing her, his pale hands hidden in his sleeves, the robe heavy and medieval, the dark hood up. The two silhouettes are pure black, no features visible at all. The window's cross-shaped frame divides the light. Red blood spatters arc across the top corners and the window, the bright drops frozen mid-flight. Across the lower-middle, the title appears as three giant distressed gray-white Chinese characters reading "TITLE", blood speckling the strokes, the red shockingly vivid, with smaller white serif English letters beneath reading "TITLE", the letters small and formal and cold. Below, a line of small white text reads "TAGLINE", centered, stark. At the bottom, a narrow strip of dense tiny white credit text, and the release line "9月22日（五）" in large white characters, bold and stark and white, with the tagline "邪隨入侵" in red beside it, the red dripping like blood. The lighting is stark, the window blazing white behind the silhouettes, a halo of pain and judgment, the chapel falling to absolute, suffocating black at the edges. The overall composition suspends the two dark figures in the blinding, merciless, holy window light above the bloodied, towering, accusatory title, joining a chapel-black, bone-white, and blood-red palette, no other colors surviving the dark, in a chilling photographic style that feels dreadful, sacrilegious, suffocating, cold, and final, faith turned into a trap, prayer into a dark summons. Nothing here will save them.