Cinema Poster Awards (CPA) is a film poster competition which was launched in October 2014 by the illustration agency ILL&MATES.
In 2014 the partner of CPA was the film festival MOLODIST
One of the competition goals is to show an alternative approach to creating film posters, attract cinema industry players’ attention to the wide range of visual concepts and their implementations, which are great instruments of movie promoting. CPA organizers believe that the competition is interesting not just for cinema industry participants, designers, and illustrators, but also for the wide public. As the result ILL&MATES decided to run CPA every year.
In 2014 CPA participants were offered to create a film poster to one of the films: Amour fou directed by Jessica Hausner, Something Must Break directed by Ester Martin Bergsmark, Expedition to the End of the World directed by Daniel Dencik, Métamorphoses directed by Christophe Honore, Björk: Biophilia Live directed by Peter Strickland and Nick Fenton.
Participants liked Expedition to the End of the World most of all movies. Their poster concepts were devoted to such issues like ways to get know yourself and the spirit of adventure.
The winners of CPA competition 2014 were:
The first place: Diana Ievytska with her poster to Björk: Biophilia Live.
The second place: Dmytriy Tsapko and Roman Davydiuk with their poster to Amour fou.
CPA party awards were held in Fedoriv Hub with the support of Daryna Zholdak Foundation.
The winners were awarded with prizes from the organizer and received certificates for workshop in European School of Design. Poster winners were placed on the city lights in the centre of Kyiv.
More then 100 Ukrainian designers and illustrators participated in CPA. ShortList film posters took part in the one-week exhibition in the cinema KYIV.
The jury of CPA 2014: Scott Bendall (Britain) and Richard Carey (Britain), winners of Annual Design Awards, Screen Awards, European Design Awards, Key Art Awards, AOI Illustration Awards and The Kitchies; Volodymyr Smirnov (Ukraine), the award winner of Effie Awards; Akiko Sterenberher (USA), Key Art / CLIO Award and the SXSW Best Film Poster Award; Mick Wiggins (USA); and Natalia Soboleva (Ukraine).
It’s important to remember that movie posters are primarily tools for attracting and enticing an audience to watch a film. They have a clearly defined role before even thinking about how they look. Even so called ‘low budget’ movies, can carry budgets in the millions of dollars, so it’s easy to understand why film studios don’t often enjoy taking risks with marketing. The safe formulas work and are designed to not necessarily attract new viewers, but more crucially, to not discourage viewers.
But, we strongly believe, despite these risks, that a movie poster shouldn’t be any less beautiful. Isn’t it possible to both attract an audience and create a meaningful poster?
We clearly see in competitions like the Cinema Poster Awards that the answer to this question is most definitely, yes. Many of the designs submitted this year would certainly have attracted us to the movie more than the official posters used in theatres.
The competition featured a broad choice of movies, which in turn attracted an equally broad range of designs. But, overall, we found the standard of submissions to be very high, both conceptually and aesthetically, and in most cases in their execution as well. It was very encouraging to see such a strong appetite for creating interesting film posters amongst designers based in Ukraine, and our hope is that competitions such as these will go some way to influencing the role of posters we see in cinemas and the marketing of movies in general.
It was a real honour for us to be part of the judging panel, and we would like to congratulate all of the designers who participated.