L’Avventura (1960) original film poster: an exclusive Classiq – Irina Perju collaboration
Printed on high-quality fine art paper.
All prints have a white border around the illustration.
Most of the time, the colors you see on-screen will be very faithful to the poster prints you receive in the mail, but keep in mind that colors may vary slightly from one screen to another. Also, you should take as reference the colors you see in the unframed illustration, not the colors you see in the framed poster in the styling example.
PACKAGING AND SHIPPING
Your prints are shipped either flat (the 21×29.7 cm/ 8.3”x11.7” prints) or in a resistant cardboard tube (the 30×40 cm/11.8″ x 15.7″ and bigger). They are rolled safely, with a protective sheet to prevent any damage to the printed area, into a reinforced cardboard tube. The artworks are not shipped framed. Note: the framed poster you see in the photo is 30×40 cm/ 11.8″ x 15.7″.
In an effort to reduce waste, these posters are printed on demand. Please allow up to 3 business days before your print is sent as your order is custom printed just for you. Once the order is shipped, you will receive an email notifying you, with tracking. Once shipped, transit can take anywhere from 1-5 business days if you are in Europe and 10-31 days for international.
This is an original movie poster as part of an exclusive Classiq – Irina Perju collaboration. I would love to say that one of the aims of this collaboration is to attract a new, young audience for classic films and to make classic cinema more accessible to a wider public. And I truly hope it does. But I guess it is first and foremost another way to funnel my lifelong passion for cinema. It truly is a celebration of classic films and storytelling that, paired with the illustrator’s artwork and end product, wants to bring a new, tangible appreciation for artistic expression and for the world of film.
L’Avventura (1960) was the first film from Antonioni’s trilogy that would go on to include La notte (1961) and L’eclisse (1962). Visually speaking, it’s a hauntingly beautiful picture, thanks to Aldo Scavarda’s cinematography. On any level, it is a groundbreaking film, stark and pure, advancing the language of cinema. Antonioni often turned away close readings of his films, encouraging an instinctual approach to viewing similar to that which he claimed he used while filming. Surpassing any conventional denouement and offering an on-going theme of reflection, L’Avventura, with its acerbic sensibility, expresses a modern alienation that has endured only too well, just like the film. Questions remain unanswered, the characters’ reasonings are left unexplained, the story does not quite resolve itself, the mystery remains – just like life.