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Recent Work

man eating pussy_film poster

_what
poster for the short film, man eating pussy.
_how
writer / director emily lawson reached out to us having just completed principal photography on this her most recent short film. she wondered if we'd be interested in making a poster for it. 

it's fair to say that not even the title prepares you for what this film has to offer. it's quite hard to articulate what it's like to watch this film for the first time. we had to watch it three times in a row to fully digest the scope and intention of it. in fact we were not entirely sure if we wanted to make a poster for the film at all. then, some days later, it struck us that we were the only people who should make the poster for this film.

all that said, we won't ruin the work by explaining what it's about. suffice to say it's worth seeing if you ever have the means and we hope that this poster is enigmatic and alluring enough to make you want to.

the poster was made by way of a series of experiments carried out by izzy roth-dishy in new york and caspar in berlin. the materials used in the process were corn syrup, cocoa powder, red food colouring, cotton wool, blood and milk. all in a fashion greatly inspired by and in homage to the french artist frederic fontenoy.

the film was selected for the 2025 SXSW film festival whilst we were working on the poster.
_link
imdb.com/title/tt39308826
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cloud factory_film posters

cf poster 2
_what
posters for the short film, cloud factory.
_how
as previously alluded to, here is the original set of posters we made for hannes lang's film, wolkenfabrik (cloud factory). these were eventually set aside in favour of the letter pressed versions of the poster, but nevertheless we wanted to publish them here for posterity's sake.

once again this film is a beautiful, thought-provoking piece of work that documents the existence of a power station outside of a small town in cologne in germany. the film consists of conversations with the town's inhabitants laid over footage of the factory's vast chimney's billowing pollution into the atmosphere in an undeniably beautiful fashion. similarly the town's inhabitants seem conflicted about the factory's importance in their lives.

the intention with this set of two posters was to combine stills from the film with cut up pieces of classical portrait paintings. these collages, made in homage to the great work of eduard bezembinder, were created in order to obliquely interpret the anonymous voice-overs we hear throughout the film. these are the voices of various inhabitants in the area who happen to live close to the power station. by reducing this collective consciousness to one classical painting without a face, but with their hands up in the air, we believed we could talk about the film in a more symbolic and thus timeless fashion. such is the every day nature of the human condition — "if it's not one thing, it's another."

caspar made both posters in photoshop. the first one here is our favourite. it uses a fragment of a painting by titian entitled the mother dolorosa with her hands apart. the other poster you can see here.

you can watch a trailer for the film here. we cannot recommend it enough. 
_link
petroliofilm.de/filme/wolkenfabrik
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shadow_pitch deck

cover
_what
pitch deck for the feature film, shadow.
_how
trey chapman reached out again after our work on the poster for his short film, rent boy. this time he wanted us to make a rather unusual pitch deck for his feature debut, the supernatural horror film, shadow.

we can't reveal anything more than the cover right now, but rest assured that what is inside the pages of this magazine "breaks the 4th wall" in ways you might not expect. 

trey and caspar broadly discussed the film's narrative and the potential for exploring that with a striking and perhaps unconventional pitch deck. trey then suggested a holiday brochure format and they decided to run with it.

trey eventually presented us with an indesign file based on a template he'd found, including his desired text and a selection of images he felt suitable for the concept. izzy roth-dishy then took care of improving the typography and typesetting and worked on some digital distressing that felt in tune with the film. caspar then took izzy's work to the local printer and had it bound. he then applied further physical distressing to the brochures in the studio, whilst lighting and photographing everything as he went.
_link
treychapman.com/shadow
_tags