MUBI’s Creative Director Pablo Martín will take us through the creative process behind the visual artwork for MUBI. MUBI is a curated streaming service that also produces and distributes ambitious new films. At the heart of MUBI’s innovative marketing strategy is a unique visual identity that engages audiences with MUBI’s programming around the globe.
Learning from the past - On the sustainability of design.
Classic film designs have a cult following today. There are archives, exhibitions, columns, galleries, auctions, podcasts. Where does this interest come from? What is it that went out of fashion but not out of style? What can we learn from people like Saul Bass, Antonio Fernández Reboiro, Jerzy Flisak, Hans Hillmann?
Act local - What can cinemas do?
For cinemas today, it's not enough to hope for a good trailer, wait for a good poster, and boost the concession sales. Cinemas need to know and engage with their specific audiences. They can build communities, share news and create experiences. Can good design give them the edge?
On the challenges of Digital Marketing
How to win the battle for attention in the web's vast media landscape and in social media's closed environments is a crucial question for any modern campaign. How much is this a design problem? How can we keep a visual idea alive and consistent in so many different modes of presentation? And how far is radical design today a technological/a budget question?
Vasilis Marmatakis: Film Posters
This case study aims to present, in great detail, Vasilis' truly innovative campaigns and designs for cinema releases. We will discuss the genesis of his designs, how the visual ideas were rooted in the films, talk about the challenges and setbacks, and what can be learned for future works and campaigns.
Hans Hillmann, a gardener in a cinema desert
Hans Hillmann (1925-2014) was the single most important German graphic designer working for the film industry. He designed hundreds of film posters and introduced many essential classics from Buñuel to Sternberg, from Lubitsch zu Eisenstein, to a post-war German audience. His work never advertises production values but develops seductive and witty visual narratives that intensify in meaning after the films. Hillmann once said that, at the time he started, Germany was a "cinema desert". His posters are a patient gardener's work, planting and watering a playful communication with the audience that still keeps growing.