Poster notes
Paul Owen analyses the latest billboard ads
Poster notes: Martha Marcy May Marlene
Paul Owen: Using a QR code in the design of a movie poster risks allowing it to date fast – but then adverts for films are not principally designed with posterity in mind
Poster notes: Another Earth
Paul Owen interviews director Mike Cahill about the poster for his new movie – and what it's like to discover that you and Lars von Trier have had almost the same idea
Poster notes: We Need to Talk about Kevin
Paul Owen: The poster for Lynne Ramsay's adaptation of Lionel Shriver's We Need to Talk about Kevin puts the focus on Tilda Swinton in an impressive image of horror and disbelief
Poster notes: Raindance film festival
Raindance has hired celebrity photographer Rankin to create its new ad, and continued its tradition of impressive poster art, writes Paul Owen
Poster notes: Melancholia
This beautiful new poster manages to pull together the main themes of Lars von Trier's film incredibly effectively, writes Paul Owen
Poster notes: The Skin I Live In
Paul Owen talks to Juan Gatti, who has been collaborating with Pedro Almodóvar since 1988, about his disturbing poster for the Spanish director's The Skin I Live In
Poster notes: Tyrannosaur
Paul Owen: Dan McCarthy's chilling, beautiful advert for Paddy Considine's new film Tyrannosaur proves an inspired commission
Batman: The Dark Knight Rises poster suggests apocalypse as usual
Ahead of the release of the trailer, this teaser poster for Christopher Nolan's final Batman film, The Dark Knight Rises, suggests we're in for a claustrophobic ride
Poster analysis: The Tree of Life
In the first of a new monthly series on the best and worst film posters on release today, Paul Owen looks at the billboard ad for Terrence Malick's The Tree of Life – an unconventional poster that is not quite as unconventional as the film itself
Black Swan raises the bar with striking and beautiful set of posters
British design studio's adverts for new Darren Aronofsky film echo Polish and Czech posters of the 60s and ballet advertisements of the early 20th century – to impressive effect, writes Paul Owen