Metropolis (1927) — Fritz Lang

The Metropolis poster is the most valuable film poster ever sold at auction — a copy of the original three-sheet format by Heinz Schulz-Neudamm realised $1.2 million at auction in 2012. The image is a masterpiece of Art Deco futurism: the female robot Maria, geometric and silvery, set against a skyline that looks simultaneously utopian and terrifying. The poster is not simply advertising a film — it is making an argument about the future, executed with the precision and confidence of someone who believes they understand what that future will look like.

Fritz Lang's 1927 science-fiction epic established the visual vocabulary of an entire genre. The poster's imagery — the mechanised female figure, the layered cityscape, the stark German typography — directly influenced everything from Blade Runner's visual design to the cyberpunk aesthetic that would dominate science fiction for the next century. The 98types Metropolis search results bring this legendary film's poster art to your walls: a genuine piece of cinema history, at a price accessible to anyone rather than auction-house collectors.

Casablanca (1942) — Michael Curtiz

Bill Gold designed the Casablanca poster in 1942 and was still designing film posters six decades later — a career longevity that testifies to the quality of his foundational work. The Casablanca poster is a model of classical Hollywood poster design: Humphrey Bogart and Ingrid Bergman locked in the kind of gaze that communicates everything you need to know about the emotional stakes before you have read a single word of the copy. The composition is perfectly balanced, the faces luminous against the atmospheric background, the typography integrated rather than imposed.

Casablanca won three Academy Awards including Best Picture and has topped more lists of the greatest films ever made than any other single film. The poster matches the film's quality exactly — and the 98types Casablanca movie poster brings this iconic image to your walls as a museum-grade print. From £3. Humphrey Bogart's expression has not dated in 84 years and shows no sign of doing so.

Gone with the Wind (1939) — Victor Fleming

Gone with the Wind is still the highest-grossing film in cinema history when adjusted for inflation — a figure that reflects not just the film's extraordinary quality but the power of its marketing, anchored by one of the most recognisable images in Hollywood history: Clark Gable holding a swooning Vivien Leigh against a blood-red sky. The poster's verticality, its drama, its unironic embrace of melodrama as the highest possible emotional register — these qualities made it the model for epic romance poster design for the next half-century.

Vertigo (1958) — Alfred Hitchcock · Designer: Saul Bass

The Vertigo poster is widely regarded as the finest piece of graphic art ever produced for a film. Saul Bass used Lissajous spirals — the mathematical curves created by combining two perpendicular sine waves — to recreate the film's central sensation: the disorienting, nauseous terror of heights experienced by its acrophobic protagonist. The image is abstract, purely graphic, and contains no representational information about the film's story whatsoever. It works because it communicates a feeling rather than a synopsis.

Empire magazine named it the greatest film poster ever made. It appeared on the film's opening title sequence as well, making it the rare poster image that also functions as the film's visual signature. Hitchcock and Bass collaborated on multiple films — North by Northwest, Psycho, The Man with the Golden Arm — but Vertigo's spiral remains the defining image of their partnership and of the entire Saul Bass canon.

The Godfather (1972) — Francis Ford Coppola

The Godfather poster is the most minimally composed of any film that won the Academy Award for Best Picture. A single marionette hand, pulling the strings of a puppet figure, against absolute black. S. Neil Fujita's design — based on the novel's original cover art, which he also designed — communicates the film's central metaphor in a single image: control, power, the strings that move the figures on the stage of organised crime, the invisible hand of the Don manipulating everything beneath him.

The Godfather is the film most frequently cited when critics discuss the greatest movie ever made — it has topped the AFI list, the Empire reader poll and dozens of other critical rankings. Its poster is equally celebrated: spare, confident, requiring nothing from the viewer except the willingness to understand what a hand and a puppet can mean when composed correctly. The 98types Godfather poster brings this legendary image to your wall in museum-grade quality. The offer you cannot refuse: from £3.

Taxi Driver (1976) — Martin Scorsese

Martin Scorsese's Taxi Driver poster is one of the great pieces of neo-noir graphic design: Robert De Niro's Travis Bickle in the rain, the wet pavement reflecting the lights of a New York City that feels simultaneously real and nightmarish, the film's title in a typeface that suggests neon and danger simultaneously. The image captures the film's defining quality — the sense of a man at the edge of a city at the edge of its own endurance, about to do something that the city has made inevitable.

Taxi Driver won the Palme d'Or at Cannes and established De Niro's reputation as the defining actor of his generation. The poster is equally canonical — it appears on dorm room walls, in academic studies of film design, in retrospectives of 1970s American cinema. The 98types Taxi Driver search brings this image to your home cinema or living room as a confirmed print.

Goodfellas (1990) — Martin Scorsese

The Goodfellas poster works differently from the Godfather's abstraction — where Coppola's film was symbolised by a puppet hand, Scorsese's is captured in the faces of its three principals. Ray Liotta, Robert De Niro and Joe Pesci, arranged in a triangle of ambition and danger that tells you exactly what kind of film this is: one about men who want too much and are willing to destroy everything to get it. The poster's composition mirrors the film's moral geometry precisely.

Goodfellas is ranked among the greatest films ever made — often in the top 10 of critical polls, consistently in the conversation for the finest crime film ever produced. The 98types Goodfellas poster is designed in a bold, cinematic noir style that captures the tension and dark glamour of the mob world. Perfect for fans of The Godfather, Casino and the Scorsese crime canon.

Jaws (1975) — Steven Spielberg

Empire magazine's readers voted the Jaws poster the greatest film poster of all time — an image by illustrator Roger Kastel that could not be simpler: a great white shark rising from below, its jaws open, towards a swimmer on the surface who does not yet know what is coming. The image communicates the film's entire premise — the invisible danger rising from below, the terrible gap between what we can see and what is approaching — in a single, vertically composed image that uses white space with a boldness that every graphic design student studies.

The Jaws poster also inaugurated the summer blockbuster era of Hollywood — the film's unprecedented marketing campaign, centred on this image, established the template for how films would be sold for the next five decades. The poster arrived before the term "blockbuster" had its current meaning, and helped create it. The 98types Jaws search results bring this foundational image of cinema to your walls.

Apocalypse Now (1979) — Francis Ford Coppola

Bob Peak's Apocalypse Now poster is, as Empire described it, "hypnotic, confusing, hallucinatory and mystifying — and matched the film in every sense." Marlon Brando's enormous bald head fades into a shimmering sun, while helicopters fly over the treeline with an unreal, bug-like quality. The image does not illustrate the film's plot — it communicates its psychological texture. Peak was, at the time of this commission, one of Hollywood's most in-demand poster designers, and this is arguably his masterwork.

A Clockwork Orange (1971) — Stanley Kubrick · Designer: Philip Castle

Philip Castle's A Clockwork Orange poster places Alex DeLarge at the centre of a pyramid composed of eyes — four of them in the poster, a deliberate reference to Kubrick's obsession with the human eye as the organ of moral judgment. The single outthrust hand grasping a knife emerges from the composition's lower-right, all violence concentrated into a single gesture. For years, after Kubrick banned the film from release in the United Kingdom following a moral panic about copycat violence, this poster was the only image most British audiences had of the film.

The poster's infamy amplified the film's infamy. A Clockwork Orange became, paradoxically, the most-discussed film in British culture during the period when it was unavailable to see. The 98types A Clockwork Orange search brings this landmark of British cinema to your wall as a museum-grade print.

The Silence of the Lambs (1991) — Jonathan Demme

The Silence of the Lambs poster won the Key Art Award for the best film poster of the previous 35 years in 2006 — a remarkable accolade for an image that was, at first consideration, simple: Jodie Foster's face, a moth on her lips, monochrome except for the moth's wings. Look closer: the moth's wing pattern is not abstract — it is a Salvador Dalí photograph from 1951, in which seven naked bodies contort themselves into the shape of a skull. The image communicates the film's central relationship between entomology, psychology, death and beauty in a single compressed image that rewards the most careful attention.

The Silence of the Lambs is one of only three films to win all five major Academy Awards (Picture, Director, Actor, Actress, Screenplay). Its poster is equally exceptional — the finest psychological thriller poster ever designed. The 98types Silence of the Lambs search brings this landmark to your wall.

Schindler's List (1993) — Steven Spielberg

The Schindler's List poster — a pair of hands, an adult's and a child's, fingers intertwined, monochrome except for the red of the child's coat — compresses the film's moral centre into a single image. The adult hand is Schindler's; the child's represents the children he saved. The red coat appears in the film itself as the only colour in an otherwise black-and-white sequence — a decision by Spielberg of such devastating simplicity that it became one of cinema's most discussed single moments. The poster replicates this choice, making colour do the emotional work that black-and-white renders in moral clarity.

Pulp Fiction (1994) — Quentin Tarantino

The Pulp Fiction poster is a direct reference to the pulp fiction magazine covers that gave the film its title: Uma Thurman as Mia Wallace, lying on a bed with a cigarette and a paperback novel, in a composition that deliberately evokes the inexpensive, sexually charged cover art of the 1940s and 1950s crime fiction magazines. The poster references are film noir, exploitation cinema, the specific aesthetic of cheap print culture. It is a poster that communicates Tarantino's encyclopaedic knowledge of cinema history in a single image.

Pulp Fiction changed American independent cinema permanently. The 98types Pulp Fiction poster is a confirmed print of this iconic image — the "You Never Can Tell" version featuring the film's famous dance sequence. Available from £3.

Fight Club (1999) — David Fincher

Fight Club's original theatrical poster is often cited as one of the most effective pieces of minimalist film marketing ever produced: Brad Pitt and Edward Norton, their faces side by side in extreme close-up, with a single bar of soap in the foreground and the film's title in the smallest text on the page. The soap references the film's central plot device (the fat from liposuction clinic dumpsters used to make soap) in a way that tells you nothing about the story and everything about its tone. Fight Club is the rare film whose poster rewards re-examination after you have seen the film — you understand, retrospectively, what the two faces mean.

The Dark Knight (2008) — Christopher Nolan

The Dark Knight's most famous poster image — The Joker's face emerging from a cityscape of fire, the caption "Why So Serious?" — is not just a superhero film poster. It is a portrait of a specific kind of cultural terror: the terrorist who has no demands, who wants chaos for its own sake, whose unpredictability makes him impossible to negotiate with. Heath Ledger's performance as The Joker was posthumously awarded the Academy Award for Best Supporting Actor; the poster image captures his interpretation of the character with extraordinary accuracy.

The Dark Knight is frequently cited as the best superhero film ever made and one of the finest films of the 21st century. The 98types Dark Knight search brings this definitive image of modern blockbuster cinema to your wall.

Inception (2010) — Christopher Nolan

The Inception poster captures the film's most immediately astonishing image: the streets of Paris folding back on themselves, the city's geometry obeying dream logic rather than physics, the skyline becoming a ceiling becoming a floor. Christopher Nolan's visual spectacle moment — streets bending like paper, the Eiffel Tower tilting, a whole city rewriting its own spatial logic — is communicated in a poster that tells you exactly what kind of film this is: one that uses the physics of dreams as its primary special effect.

The 98types Inception poster is confirmed in stock. The film is widely regarded as one of the finest science fiction films ever made; the poster is one of the finest modern examples of photographic compositional design in cinema marketing.

Joker (2019) — Todd Phillips

The Joker poster — Joaquin Phoenix's Arthur Fleck with full clown makeup, descending a flight of stairs in a dance that is equal parts triumphant and heartbreaking — became one of the most discussed film images of 2019. Todd Phillips' film draws directly from Martin Scorsese's King of Comedy and Taxi Driver; the poster image echoes Travis Bickle's moment of liberation, translated into the specific tragedy of a man who has found that the only way to be seen is to stop being human. Joaquin Phoenix won the Academy Award for Best Actor; the Palme d'Or at Cannes was the first awarded to a DC Comics film.

Parasite (2019) — Bong Joon-ho

Parasite is the first non-English-language film to win the Academy Award for Best Picture — and its poster design matches the film's precision. The image of a family's legs visible below a low ceiling, the upstairs family above them unaware of who is sharing their space, communicates the film's central metaphor of class stratification made physical and architectural. Below and above, seen and unseen, the film's entire argument rendered in a single spatial image.

Bong Joon-ho described his film as being about "the geometry of class." The poster is about the geometry of space. They are the same argument. The 98types Parasite search brings this landmark of world cinema to your wall.

Trainspotting (1996) — Danny Boyle

The Trainspotting poster — the cast arranged in a descending cascade of faces on a black background, with the film's anti-establishment "Choose Life" tagline — is one of the defining images of 1990s British cinema. Danny Boyle's film about heroin addiction in Edinburgh is simultaneously the most energetic and the most harrowing British film of its decade, and the poster's bold, graphic, uncompromisingly contemporary design reflects this. The 98types Trainspotting search brings this landmark of British independent cinema to your wall.

Harry Potter (2001–2011) — Various Directors

The Harry Potter franchise is one of the greatest achievements in the history of British cinema — and arguably the most significant British cultural export of the 21st century. Beginning with Harry Potter and the Philosopher's Stone in 2001 and continuing across eight films, the series adapted J.K. Rowling's novels with remarkable fidelity. The franchise's poster imagery — Hogwarts, the golden snitch, the wands, the eight-year arc of Daniel Radcliffe, Emma Watson and Rupert Grint growing up before the camera — is inseparable from the childhood of an entire global generation. The 98types Harry Potter search brings this beloved franchise to your walls.

The Favourite (2018) — Yorgos Lanthimos

Yorgos Lanthimos's The Favourite is the finest British period film of the 2010s — a ferocious dark comedy set in the court of Queen Anne that uses wide-angle lenses and baroque composition to make the 18th century feel simultaneously alien and entirely contemporary in its understanding of power, desire and survival. Olivia Colman won the Academy Award for Best Actress. The 98types Favourite poster brings this extraordinary film to your wall.