Japanese audiences will have to wait until September 4 to catch Kane Parsons’ Backrooms in local cinemas, but A24 and Japanese distributor Happinet Phantom Studios are already drumming up excitement for the film’s arrival. However, the movie’s promotional approach in Japan has sparked debate, as the local poster differs significantly from its international counterparts. While overseas versions showcase actress Renate Reinsve cramped in a corner against a stark yellow wall, the Japanese iteration is notably cluttered with text and graphics, earning it the label “lame” from some Twitter users in Japan.
This discrepancy has shed light on the prevailing trend in Japanese movie posters to prioritize information over aesthetics, often adhering to a “tell, don’t show” philosophy. For instance, promotional materials for international blockbusters like Parasite and La La Land have been reworked to include more text and imagery, sometimes even censoring elements of the original designs.
Japanese cultural critic, novelist, and philosopher Hiroki Azuma argues that this approach is a cultural norm, evident in everything from the lengthy titles of isekai light novels to the text-heavy nature of tabloid TV shows. A former film industry designer adds that while designers aim for subtlety, distributors prioritize comprehensive advertising, often resulting in cluttered posters and trailers, as seen with Backrooms in Japan.
Given that Backrooms explores liminal spaces, where emptiness evokes unease and dread, it’s no surprise that some Japanese fans prefer the original minimalist design. Nevertheless, minimalist Japanese posters do exist. The Exit 8 movie, for example, won the Best Poster Design award at last year’s Cannes Film Festival for its “minimalist, yet striking design.” Curiously, that poster also features a main character against a yellow backdrop and is inspired by a video game centered on liminal spaces.