minimalist poster design — minimalist layout with serif type and tagline

A minimalist movie poster in a stark, grainy photographic style shows a blurred human figure crouched in darkness, overlaid by a rigid grid of white tally marks, set against a near-black background. In the center of the frame, an adult woman in her late twenties appears as an out-of-focus nude figure seen from behind, knees drawn up and head bowed, long light hair falling over the face, the bare back and shoulders rendered as a soft brown-gray blur. On the left side of the frame, the blurred profile of the bowed head and a pale hand pressed near the cheek barely emerge from the murk. On the right side of the frame, the curve of the figure's back and hip dissolves into shadow, the body merging with the darkness. Behind the figure, the background remains an impenetrable dark brown-black, heavy with film grain and soft blur. The grain is coarse and uneven, like a still pulled from aged film stock, giving every edge a trembling softness. In the upper-left corner, the tally marks begin their rigid grid against pure black, each mark formed by four vertical strokes crossed by one diagonal. In the upper-right corner, the final column of marks meets the poster's edge, completing the pattern. Across the entire surface, twenty-four small white tally marks are arranged in a precise grid of six rows and four columns. The marks are hand-drawn and slightly irregular, their white lines glowing against the murk. In the middle-left area, the title appears in large thin white serif capitals reading "TITLE", its elegant letters floating over the blurred body. Directly beneath the title, a smaller line of white capitals reads "TAGLINE", tracked wide and understated. The letterforms are spare and modern, their thin strokes standing in quiet contrast to the violence of the image. In the lower-right corner, a blurred white shape, possibly a shoe or a fold of bedding, sits at the edge of the frame, half swallowed by shadow. Along the bottom edge, the last row of tally marks hovers over the darkened floor. The lighting is extremely low-key and murky, the figure barely lifted from the surrounding black by a faint diffuse glow from the front, edges dissolving into grain, the white tally marks and lettering glowing with crisp contrast against the gloom. Overall, the poster balances a rigid geometric grid of white marks against a single blurred organic form, in a restricted palette of near-black, warm taupe, and stark white, in a bleak minimalist style that feels oppressive, mournful, and deeply unsettling.