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Geburt.Birth // Kindheit.Childhood // Jugend.Youth // Koma.Coma /// There Are Only Two Superlatives: Amitabh Bachchan + Messi //// He/Him. ///// Movies/Series Addict

Backdrop for the film "The Keep" (1983, Michael Mann): A dark, atmospheric poster dominated by a massive, imposing stone fortress silhouetted against a purple and magenta night sky. The fortress walls form the shape of the words "THE KEEP" integrated into the architecture itself. A bright golden light blazes from the fortress entrance at ground level, casting long shadows toward the viewer. Two small silhouetted figures walk toward the glowing doorway, dwarfed by the enormous structure. A military vehicle is parked to the right. The surrounding darkness and the eerie light create an ominous, supernatural atmosphere.

Poster for the film "Murder, My Sweet" (1944): A hand-painted illustration, showing a man in a dark fedora and suit leaning close to a woman whose head is tilted back with her eyes closed in a tender embrace. The title "Murder, My Sweet" appears in flowing red cursive script across the lower portion.

Portugese landscape poster for the film "Time Bandits" (1981, Terry Gilliam). A surreal painted illustration. A large 17th-century galleon with billowing sails appears to rest impossibly atop a giant man's head, who is half-submerged in calm blue water beside an angular stone fortress. The horizon stretches into a hazy red-orange sunset, with grid-like geometric lines fanning out across the sky and sea, evoking maps or cosmic blueprints. The yellow title "BANDIDOS DO TEMPO" runs across the top in ornate decorated lettering, with each letter enclosed in geometric frames.

Backdrop for the film "Synchronic" (2019, Benson & Moorhead): A surreal spiral ribbon unfurls vertically against a dark brown-grey background, with each twist revealing a different time period like windows into history. From top to bottom: a prehistoric jungle with ferns, a desert landscape with a woolly mammoth silhouette, a Civil War-era battlefield with soldiers and gunsmoke, and a modern city skyline at dusk. A man's body falls through the center of the spiral, tumbling downward through the different eras. The ribbon tapers at its base into a desert landscape, with sand dripping and falling from its lowest point. The title "SYNCHRONIC" appears on the right in elegant spaced white serif letters.

Backdrop for the TV series "Life on Mars": In the foreground, John Simm stands in a black leather jacket, hands clasped in front of him with a slight smirk. Behind him, a tiled wall displays the same image of him repeated across the grid in a warm sepia tone. To his left, Philip Glenister leans against a vintage car wearing a brown 1970s overcoat. To his right, a female police officer in a classic British uniform stands beside a retro blue-and-white police car. The title "LIFE ON MARS" appears in bold white letters on the right.

Portuguese backdrop for the film "Arlington Road" (1999): A dark, ominous composition. In the foreground left, Tim Robbins's face fills the frame in close-up, looking directly at the viewer with a cold, unsettling intensity, wearing a white collared shirt. Behind him and to the right, Jeff Bridges appears slightly smaller, his face half-shadowed, gazing forward with a troubled, suspicious expression. In the lower right, a suburban house glows warmly at night beneath an "ARLINGTON ROAD" street sign, its cozy appearance contrasting with the menacing tone. Faint architectural blueprint lines overlay the dark background. The Portuguese title "O SUSPEITO DA RUA ARLINGTON" appears in the upper left in rough white and black distressed lettering.

Backdrop for the film "The Fall" (2006, Tarsem Singh): A breathtaking wide shot in vivid, saturated colors set against a vast desert landscape with barren brown mountains under a clear blue sky. On the left, a massive wooden structure holds an enormous white fabric banner stained with deep red dye pooling at its base. A figure in blue stands before it, facing a group of costumed warriors and adventurers in vibrant green, red, yellow, and white garments, accompanied by horses. The title "The Fall" appears on the right in elegant dark red Gothic serif lettering.

Backdrop for the Korean film "Revelations" (계시록, 2025, Yeon Sang-ho): A dark, rain-drenched scene set in a dense forest at night. In the center, a man stands in a grey suit and tie, soaked through, looking tense and alert. Behind him on a rocky outcrop, a figure behind a tree in a red jacket observes from above, while to the right another person holds a flashlight illuminating the scene. Yellow police tape reading "POLICE LINE" in English and Korean stretches across the foreground. Heavy rain falls throughout, creating an oppressive, claustrophobic atmosphere. The title "REVELATIONS" appears on the left in weathered, cracked white lettering, below it appears the title in big korean letters.

A stylized illustration for 'Lake Mungo', in dark teal and muted peach tones. A woman's silhouette stands at the edge of a lake, facing away from the viewer toward a large, luminous full moon that dominates the sky. Dense bushland and trees frame her on both sides, their dark shapes reflected in the still water below. The overall atmosphere is eerie and melancholic. The title "LAKE MUNGO" appears in large white letters across the bottom, with the "M" emphasized in bold.

German backdrop for the film "Blow Out" (1981): A film still showing John Travolta in close-up, wearing headphones and a dark blue shirt, leaning intently over a portable reel-to-reel tape recorder. His expression is focused and tense as he listens. He sits beside a rain-streaked window, with an outside light illuminating the raindrops on the glass, casting a warm reddish glow across the scene. The German title "DER TOD LÖSCHT ALLE SPUREN" ("Death Erases All Traces") appears in white at the top right, with "BLOW OUT" in bold black letters on a white bar between the two lines.

Japanese backdrop for the film "Blow-Up" (1966): A striking composition on a bold red background. On the left, a black-and-white photograph shows a man crouching over a woman, holding a camera to his face as he photographs her from above. The woman lies beneath him with her arms outstretched and head thrown back. On the right, the Japanese title "欲望" (Yokubō, meaning "Desire") appears in large brushstroke-style cream characters, with the English title "BLOW-UP" below it in bold cream block letters.

Italian backdrop for the film "Once Upon a Time in the West" (1968): A hand-painted illustration in warm sepia and amber tones on a weathered parchment-like yellow background. Four figures are arranged on the right side in a triangular composition. Standing at the back left, Charles Bronson in a long bright coat and wide-brimmed hat looks down with a calm, guarded expression. On the far right, Henry Fonda stands tall in dark clothing with a holstered gun, his gaze cold and menacing. Crouching between them, Jason Robards sits casually with his hand on his chin, wearing a long duster coat and hat. In the foreground center, Claudia Cardinale lies on the ground propped up on her arms, her curly hair loose, looking directly at the viewer with a defiant expression. The Italian title "C'ERA UNA VOLTA IL WEST" appears on the left in bold, rough-hewn black Western-style lettering.

Korean backdrop for the film "They Cloned Tyrone" (2023): A painted illustration on a bold yellow background showing seven faces cascading from upper left to lower right. The first face is Jamie Foxx, followed by Teyonah Parris, then five repeating faces of John Boyega as Tyrone - each slightly shifted and with a different expression, evoking the cloning theme of the film. All are rendered in warm golden-brown tones matching the background. The Korean title "그들이 타이론을 복제했다" appears in bold black stylized lettering on the left.

A scene from the hindi film 'Agneepath', the main character, Vijay, as a young boy, places his father's corpse from the muddy street onto a wheelbarrow and pulls it with the greatest of effort

Michael Jordan pic with the quote “... and i took that personally”

French backdrop for the film "Who's Afraid of Virginia Woolf?" (1966, Mike Nichols): A dark, intense composition against a mostly black background. On the right, Elizabeth Taylor dominates the frame in close-up, her hair tousled, mouth open mid-shout with a fierce, almost venomous expression. Behind her and to the left, Richard Burton stands smaller in the frame, wearing a grey cardigan and dark tie, looking tense and worn down. The French title "Qui a peur de VIRGINIA WOOLF?" appears in the lower left in bold yellow-orange lettering, with "Virginia Woolf?" set larger and heavier than the rest.

Posters of James Cameron's 'Terminator 2' and Hitchcock's 'The Man Who Knew To Much'
- Ray's 'Aparajito'
- Kubrick's 'The Killing'
- Stevens' 'Giant'
- Vidor's 'War And Peace'

Cover of the first issue of the graphic novel “XIII - The Day Of The Black Sun” by writer J. Van Hamme and artist W. Vance, published by Cinebook.

A painted illustration in warm amber and brown tones shows a man with dark hair standing in a dimly lit room, illuminated from above by a hanging pendant lamp. He wears a beige sport coat over an unbuttoned shirt, with a serious, slightly weary expression. In front of him on a table sits an open suitcase overflowing with stacks of US dollar bills. Behind him, a window with sheer curtains and floral-patterned wallpaper. The series title "XIII" appears in large bold serif letters at the top.

Japanese backdrop for the film "Synecdoche, New York" (2008, Charlie Kaufman), features a claustrophobic urban composition shot from a low angle looking up between two tall industrial buildings. Overhead, a grid-like roof structure stretches across, with blue sky visible through its gaps. On the right, below the roof's framework, the top of a single white building is visible, with a white airship hovering above it. The Japanese title appears across the top in stylized blocky lettering, with the English title below it.

Backdrop for the film "The Big Sleep" (1946): A dramatic black-and-white image of Humphrey Bogart and Lauren Bacall in a tense embrace. Bogart, in a pinstripe suit, leans down with his face close to Bacall's, his hand at her throat in an ambiguous gesture between threat and intimacy. Bacall looks up at him, her expression caught between defiance and desire. Behind them, faint venetian blind shadows fall across a dark background. The title "THE BIG SLEEP" appears in elegant white script on the left, framed by quotation marks.

Backdrop for the film "Platoon" (1986): A dramatic war scene rendered in dark, fiery tones. In the center foreground, a american soldier kneels with his arms raised toward the sky in a desperate, anguished gesture — silhouetted against an apocalyptic orange-red sky with burning embers floating through the air. Palm trees and a smoky jungle landscape surround him, with a few vietnamese soldiers visible in the background. The title "PLATOON" appears in bold silver metallic letters across the middle, with the letter "O" replaced by two military dog tags hanging from a chain. Below in white, the Japanese title "プラトーン" (Puratōn) appears.

Detailed black and white drawing of a dragon sitting on a castle tower by Kentaro Miura, from the manga Berserk.

Backdrop for the film "Breach" (2007): Set against a moody, dark teal sky, two men walk in a quiet park-like area near the Washington Monument. In the foreground left, an older man in a long black overcoat, a plaid scarf and red tie strides purposefully, glancing back. In the middle distance, a younger man in a brown coat follows at a distance, hands in his pockets. The bare winter trees and pale ground evoke a chilly Washington D.C. evening. The title "BREACH" appears in clean white sans-serif letters across the top.

Backdrop for the Hong Kong film, "A Hero Never Dies". A dramatic action composition in cream and deep red tones, capturing the explosive moment of a wine bottle shattering mid-air. The dark red liquid splashes outward across the frame while glass shards scatter chaotically. A paper nametag reading "JAck哥" still hangs from the bottle's broken neck on the left. In the lower right, two silhouetted figures appear in pale beige, both aiming guns - one man standing, the other infront of him, seated in a wheelchair. The Chinese title "眞心英雄" appears vertically, and the English title "A HERO NEVER DIES" in bold black letters fills the upper right.

Backdrop for the film "Total Recall" (1990), on the right, an extreme close-up of Arnold Schwarzenegger's face in cool blue tones, with one piercing eye gazing intensely. On the left, the title "TOTAL RECALL" appears set against a black starry sky. Below the title, a silhouette of a pyramid stands against an intense yellow-and-red glow, with two small planets - one in front and one behind - evoking an alien Martian landscape.

Movie poster for "The Haunting" (1963): Cast in eerie blue tones, a Gothic mansion with pointed towers and bare trees looms under a cloudy sky. Below it, a woman's face fills the lower half with wide, terrified eyes. At the very bottom, four small silhouetted figures are seen from a high angle, casting long shadows across pale ground as they approach the house. The title "THE HAUNTING" appears in jagged, dripping white letters across the center.

Backdrop for the film "El Aura", features a man stands alone in a dark, eerie forest of tall, slender tree trunks, lit by a cold, pale light filtering through from behind. He wears a dark jacket over a white shirt, head bowed and holding a pistol at his side. The title "el aura" appears below in clean lowercase letters, "el" in light-grey and "aura" in white and bold letters.

Backdrop for the anime film "Weathering With You", a young girl with long dark hair stands smiling on an overgrown rooftop covered in grass and small yellow flowers, reaching one hand up toward a bright break in the clouds where sunlight pierces through. A boy with dark hair and a shoulder bag sits beside her, laughing joyfully as he looks up at the sky. Rain falls around them, while the Tokyo skyline stretches behind under a dramatic sky of blue and clouds. A clear umbrella lies on the ground at their feet. The Japanese title "天気の子" appears in white, with "Weathering With You" written below it.

Japanese movie poster for "The French Connection" in hand-painted illustration style: The composition layers multiple scenes. At the top, an industrial bridge stretches into a hazy orange sunset. In the foreground, the main protagonist looms large, aiming a pistol directly at the viewer with a tense expression. Embedded below him is a dramatic scene on a staircase: a man on the upper landing throws his arms up with a shocked, open-mouthed expression, having just been shot by a smaller figure in a trench coat who aims a gun up at him from the lower steps. Japanese text runs vertically on the right side. The title "THE FRENCH CONNECTION" appears in bold red letters across the lower half, with the Japanese title "フレンチ・コネクション" (Furenchi Konekushon) below it.

Backdrop for the film 'The Abyss', a silhouetted deep-sea diver in a heavy pressure suit stands on the dark ocean floor, illuminated by an eerie blue glow. Faint lights and small objects surround the diver in the murky depths. On the right, the title "THE ABYSS" appears in large metallic blue letters, with the Japanese katakana "アビス" (Abisu) below in bold red.

Backdrop for the TV series "Life on Mars": In the foreground, John Simm stands in a black leather jacket, hands clasped in front of him with a slight smirk. Behind him, a tiled wall displays the same portrait of him repeated across the grid in a warm sepia tone. To his left, Philip Glenister leans against a vintage car wearing a brown 1970s overcoat. To his right, a female police officer in a classic British uniform stands beside a retro blue-and-white police car. The title "LIFE ON MARS" appears in bold white letters on the right.

Backdrop for the film "The Wicker Man": A detailed woodcut-style illustration in yellow, orange, gold, and black tones shows a towering humanoid figure made of woven wicker standing against a fiery sunset sky with swirling clouds. In the foreground, silhouetted figures wearing eerie animal masks - including a rabbit, a goat, and a fox - gather around flames. On the right, large Chinese characters "異教徒" (meaning "heathen/pagan") appear above the English title "THE WICKER MAN" in gold lettering.

Italian backdrop for the film "Leave Her to Heaven". A woman with wavy brown hair, red lipstick, and tortoiseshell sunglasses sits in a rowboat on a forest lake, wearing an elegant cream-colored dressing gown. A wooden boathouse is visible on the shore behind her. The title "femmina folle" appears on the right in a playful, whimsical white font.

Backdrop for "Dragonslayer", features a massive dragon with outstretched wings looming in a fiery orange sky filled with smoke and clouds. On the right, a small silhouetted figure in a defensive stance on a rocky ledge, holding a spear and shield as he faces the beast. The title "DRAGONSLAYER" appears in the bottom left in bold fantasy lettering with a red-to-black vertical gradient and a golden outline.

Movie poster for "Sneakers" (1992) in illustrated comic style: A collage centered on Robert Redford with a serious expression, surrounded by the main cast - Mary McDonnell, Sidney Poitier, Ben Kingsley, River Phoenix, Dan Aykroyd, and David Strathairn. The background features lines of code, a map, and surveillance photos. The title "_SNEAKERS" appears in pixelated retro computer font on an orange background in the bottom right.

Japanese poster for a Detective Conan: The Raven Chaser (名探偵コナン). Against a dramatic sunset sky gradient from blue to orange, multiple characters are arranged in layers. In the foreground, young detective Conan with his glasses stares intensely forward. Behind him loom three mysterious figures - a blonde woman, a man in a black hat and coat and silver hair with a sinister look and grinning, and a large menacing figure behind dressed also entirely in black and wearing black shades. On the right, a young woman (Ran Mouri) with a dramatic look on her face. Below her is a small girl (Haibara Ai). In the lower left, a group of supporting characters including Professor Agasa and the detective boys are clustered together. The Japanese title 名探偵コナン appears in bold yellow and red lettering. The overall composition is dramatic and suspenseful.

Backdrop for 'KGF: Chapter 1'. A muscular man with long hair and beard strides forward through dusty golden haze, covered in dirt and grime, carrying a shovel over his shoulder. Behind him, shadowy figures are visible through the dust. The title 'KGF' appears in large bold three-dimensional lettering that looks like it's made out of distressed steel blocks, with 'KOLAR GOLD FIELDS' in smaller text beneath and 'CHAPTER 1' below. The overall palette is warm sepia and golden brown, creating a gritty, epic atmosphere.

Japanese backdrop for 'Upgrade'. A man in a brown jacket stands in a hallway, flanked by vertical striped walls that create a symmetrical gradient - the left transitioning from blue to red, the right from dark red through blue back to red. Behind him, the hallway recedes into darkness where stairs appear to lead downward, illuminated by an eerie white glow rising from below. The Japanese title アップグレード and the English 'UPGRADE' are overlaid across the image in heavily glitched lettering with horizontal scan lines and color distortion. The overall composition is ominous and unsettling, drawing the eye toward the mysterious light source below

Portuguese backdrop for 'Last Year at Marienbad'. A black and white photograph of an ornate formal French garden shot from an elevated perspective. Perfectly symmetrical manicured lawns, geometric hedges, and conical topiary trees line a central pathway that recedes into the distance between rows of tall trees. Classical statues on pedestals frame the composition. A lone man in a dark suit stands small in the centre foreground, dwarfed by the vast geometric landscape. The title 'O ANO PASSADO EM MARIENBAD' appears in large bold white outlined lettering across the centre. The overall atmosphere is elegant, surreal and haunting.

Portuguese backdrop for 'Fatal Attraction'. Close-up faces of a man on the left and a woman on the right frame the composition, separated by a bold torn red vertical stripe running down the centre. The title 'ATRAÇÃO' appears in large white serif capitals, with 'Fatal' in flowing golden script lettering beneath, both overlaid on the red stripe. The overall colour palette is warm sepia and cream tones contrasted by the vivid red, creating a tense, intimate atmosphere.

Japanese anime backdrop for 'Tokyo Godfathers'. Against a starry night sky above a glowing Tokyo cityscape, four characters fall or leap desperately. From left to right: a baby wrapped in a white blanket, a person in an orange shawl and brown clothes reaching frantically, a young woman in a red coat and hat lunging forward with mouth open, and below them a man in a blue jacket and brown cap reaching upward. All are caught mid-motion in a desperate attempt to catch the falling baby. The Japanese title 東京ゴッドファーザーズ appears in large bold white lettering at the bottom. The overall composition is frantic and filled with urgency.

Street photograph of a large billboard mounted on an urban building facade. A grey background features a white silhouette of a hand making a Vulcan (from Star Trek) salute gesture, with the hashtag '#MAYTHE4THBEWITHYOU' displayed in bold black text below - a Star Wars Day reference. Three floodlights are mounted above the billboard. Below, pedestrians walk past storefronts on a sunny city street.

Street photograph of a large billboard mounted on an urban building facade. A grey background features a white silhouette of a hand making a Vulcan (from Star Trek) salute gesture, with the hashtag '#MAYTHE4THBEWITHYOU' displayed in bold black text below - a Star Wars Day reference. Three floodlights are mounted above the billboard. Below, pedestrians walk past storefronts on a sunny city street.

Street photograph of a large billboard mounted on an urban building facade. A grey background features a white silhouette of a hand making a Vulcan (from Star Trek) salute gesture, with the hashtag '#MAYTHE4THBEWITHYOU' displayed in bold black text below - a Star Wars Day reference. Three floodlights are mounted above the billboard. Below, pedestrians walk past storefronts on a sunny city street.

Black and white poster for 'Kiss Me Deadly'. Against a stark black background, three high-contrast noir images are arranged - on the upper left, a burning house with smoke billowing, in the centre a large silhouetted hand holding a revolver, and on the right a terrified woman in a trench coat running with one arm raised. The title 'Kiss Me Deadly' appears in large bold red script lettering at the bottom. The overall composition is dramatic and quintessentially film noir.

Chinese backdrop for 'Good Time'. Against a blurred nocturnal cityscape bathed in vivid red, pink and blue neon light, two figures, one on the left and one on the right, are visible holding hands and running in motion blur - Between them, the Chinese title appears above in large horizontally-striped lettering, with 'GOOD TIME' in matching style beneath, both titles fragmented by scan lines creating a VHS-like glitch effect. The overall atmosphere is frenetic, neon-soaked and deeply urban, capturing the film's relentless nighttime energy.

Spanish backdrop for 'The Time Machine'. Against a golden sepia-toned background featuring the glowing spiral form of the time machine, three figures stand arranged heroically - a long-haired man in period clothing, a woman in a draped halter dress stands beside him, and a child like figure in simpler clothing appears to the right. The title 'LA MÁQUINA DEL TIEMPO' appears in large elegant white serif lettering at the bottom. The overall tone is adventurous and dreamlike.

French backdrop for 'Anatomy of a Fall'. Shot from directly above, a body lies sprawled on the snow covered ground with blood pooled around the head, forming a dark red trail. Two figures - a child and an adult - stand embracing as they look down at the body. The title 'ANATOMIE D'UNE CHUTE' appears in large bold red lettering on the right against a textured white background. The composition is stark, unsettling and forensic in its overhead perspective.

Hong Kong backdrop for 'The Eye, featuring an extreme close-up of a human eye in cold blue tones dominating the entire image. Within the pupil, a small female silhouette stands bathed in an eerie white glow. The Chinese title 見鬼 appears in white characters on the lower right, with 'THE EYE' in smaller text beneath. The overall atmosphere is deeply unsettling and supernatural.

Spanish backdrop for 'Crimson Tide'. Against a deep red-tinted dark background, two men dominate the composition - Denzel Washington's character stares intensely forward in the centre, while Gene Heckman's is wearing a USS Alabama SSBN-731 cap and looms behind him to the right. A submarine emerges from churning water on the left, with a circular radar/sonar graphic visible in the upper left corner. The title 'MAREA ROJA' appears in large bold white lettering at the bottom. The overall tone is tense and confrontational, bathed in deep crimson red.

Illustrated Chinese poster for 'My Lucky Stars' in manga style features the large cast dynamically - At the top are 5 of the main characters, Sammo Hung's character, has a large round-face in a yellow sweater that dominates the centre with arms outstretched, flanked by Jackie Chan's and Yuen Biao's characters in fighting stances, with the Mount Fuji visible behind them and surrounded by various other figures including suited men, a muscled woman in a bodybuilding pose, ninjas in blue, Arale from Akira Toriyama's Manga 'Dr. Slump', and two speeding cars. The Chinese title 福星其昭 appears in large bold orange lettering at the bottom, with small drawings of all 6 main characters below it, with the cast and crew credits at the bottom. The overall tone is energetic and comedic.

Backdrop for 'The Parallax View'. Against a stark white background, a dark silhouette of a man falling helplessly is set against a faint grey circular structure resembling the Seattle Space Needle viewed from below. The title 'THE PARALLAX VIEW' appears in large bold red lettering at the bottom. The composition is minimal and deeply unsettling.

Japanese backdrop for 'Klute', split into two contrasting colour tones - on the left, a man in a suit points a gun toward the viewer in cold cyan/teal, while on the right a woman in a backless sequined dress looks over her shoulder in vivid magenta/pink. Between them, a telephone cord snakes dramatically upward. The Japanese title コールガール appears in bold white katakana, with 'klute' in large lowercase bauhaus inspired white lettering beneath. The overall composition is bold, graphic and unmistakably 1970s in style.

Japanese backdrop for 'I Saw the TV Glow', features a person seen from behind sits on a patterned rug before a glowing vintage television set, bathed in an eerie purple-pink light against a near-black background. On the left, the Japanese title テレビの中に入りたい appears in large chunky hand-drawn style lettering in soft pink, with a small ghost icon embedded in the text and 'I Saw the TV Glow' in smaller quirky lettering beneath. The overall atmosphere is hypnotic, melancholic and deeply unsettling.