two-character poster — Two Figures · Oversized Title · Bottom Title

Two guilt-ridden men peer from the darkness of a deep, misty well. An older adult man and a younger shirtless adult man look upward through swirling fog, their faces half-lit, half-lost in shadow, framed by the dark circular mouth of the well. The image is murky, painterly, and heavy with guilt. Oshima's late triumph: a rickshaw man, a soldier's wife, a murder, and the ghosts that would not stay buried. 愛的亡靈: the vertical red text hails Oshima's Cannes triumph; the well below holds his darkest parable. The blood-red title looks carved by a shaking hand; the fog does the rest. The release line promises January 22nd on the big screen; the ghosts promise they will be there too. The End: the well keeps its secret, the fog keeps the men, and the red title keeps bleeding. The circular well mouth frames them like a verdict; the darkness outside the circle is the film's conscience, watching from the dark, foggy, haunted, Oshima, well-water, forever and ever, amen, in the foggy, haunted, blood-titled well of 1978, resurrected in 2021, on the big screen, at last, in blood red, forever haunting, forever Oshima. The End. At the top left, the Cannes "BEST DIRECTOR FESTIVAL DE CANNES" laurel appears in white; below it vertical red text reads "超越感官世界 大島渚登上坎城影展最佳導演 巔峰之作" in a clean face. At the bottom, the text "TITLE" appears in enormous blood-red Chinese characters "愛的亡靈" in a bold, rough, brush-stroke face, arranged horizontally; at the bottom left, white text reads "2021 1.22 首度大銀幕上映"; at the bottom right, red text reads "Empire of Passion" in a serif face. His older face is lined, the upward gaze haunted. The younger man's bare shoulders gleam, the expression dazed. The fog swirls thick, the well's mouth dark. The circular frame is organic, the shadows deep. The red title's brush-stroke face is bloody, the huge characters rough. The white laurel's text is formal. The red vertical text's clean type is small. The release line's white characters are crisp. The overall mood is one of suffocating, watery guilt. Murky, diffused, otherworldly light filters down into the well, catching the fog and the two haunted faces. The composition traps the two guilty, fog-drowned men in the well's dark, organic circle above the bloody, rough-hewn red title, using a murky gray, black, and blood-red palette with an Oshima-late arthouse style and a haunted, passion-and-murder, ghosts-of-desire mood of a love that killed.