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the film stage have very kindly included our april and the heirloom posters in their best movie posters of 2025 list. whilst ben petrie’s the heirloom poster was placed in their honourable mentions category, they went as far as to consider our poster for dea kulumbegashvili’s april their 4th best poster of the year.

here’s what jared mobarek at the film stage had to say about the april poster:

The initial inscrutability of Caspar Newbolt’s (version_industries) design for April is a huge part of its appeal—abstractions ask the viewer to look beyond its formal success and find a path towards its visual interpretation of systemic violence. We aren’t witnessing an illegal abortion via characters and action so much as a representation of the procedure’s power within a repressive state. This serenely calm and cloudy sky destroyed by hastily covered blood portrays a tacit agreement. It shields the evidence of its horror while allowing the patriarchy to keep pretending everything is fine.

a huge thank you again to jared and the film stage for the continued support of our work.

the film stage and MUBI have kindly included our family portrait and april posters in their best movie posters of 2024 lists. whilst MUBI placed dea kulumbegashvili’s april poster in their 2024 runners up, the film stage went as far as to consider our poster for lucy kerr’s family portrait their 7th best poster of the year.

here’s what jared mobarek at the film stage had to say about the family portrait poster:

Much like the film’s commentary on absence versus presence, Caspar Newbolt’s poster for Family Portrait hinges upon the dynamic shared by those two states. Whether the hunt for a mother to take the Christmas card photo she enlisted them to take or pointed words read by the daughter searching for her so she can fly back home (“Where did my mother go when she would leave her empty gaze fixed on me?”), there arrives a shift from opposition to coexistence––we still have presence through absence and can be absent despite our presence. Thus Newbolt cuts the eyes out of Joshua Johnson’s The Westwood Children and places them upon a textured wash of color that thematically erases the bodies while simultaneously promising they’ll exit the fog next. It’s an illusion. Just like the photo. Because a finished product was never the goal; the portrait was simply an excuse to physically reunite one more time… just in case next year proves too late.

a huge thank you again to jared, adrian curry and both of their institutions for the continued support of our work.

our poster for dea kulumbegashvili’s second feature film, april, was selected as MUBI’s movie poster of the day today. a massive thank you once again to adrian curry for his continued interest in and support of our work.