{"product_id":"coffee-and-cigarettes-コーヒー-シガレッツ-original-release-japanese-movie-poster-2003-b2-size-51-73-cm-p39-copy","title":"“Coffee and Cigarettes” (コーヒー＆シガレッツ), Original Japanese First-Release Movie Poster 2005, Jim Jarmusch, B2 Size (51 × 73 cm) S267","description":"\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e produced for the \u003cstrong\u003efirst Japanese release of Jim Jarmusch’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eCoffee and Cigarettes\u003c\/strong\u003e\u003c\/em\u003e (\u003cstrong\u003eコーヒー＆シガレッツ\u003c\/strong\u003e) in \u003cstrong\u003e2005\u003c\/strong\u003e. Conceived as a series of short films made over many years and ultimately assembled into an eleven-part feature, the film brings together an extraordinary collection of \u003cstrong\u003eactors, musicians, comedians and Jarmusch regulars\u003c\/strong\u003e around the deceptively simple rituals of drinking coffee, smoking cigarettes and talking. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eReleased internationally as a feature in 2003, the film opened theatrically in Japan on \u003cstrong\u003e2 April 2005\u003c\/strong\u003e. Its remarkable ensemble includes \u003cstrong\u003eRoberto Benigni, Steven Wright, Steve Buscemi, Iggy Pop, Tom Waits, Cate Blanchett, Jack White, Meg White, Alfred Molina, Steve Coogan, GZA, RZA and Bill Murray\u003c\/strong\u003e, among many others.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe origins of \u003cem\u003eCoffee and Cigarettes\u003c\/em\u003e stretch back to \u003cstrong\u003e1986\u003c\/strong\u003e, when Jarmusch made the first short featuring \u003cstrong\u003eRoberto Benigni and Steven Wright\u003c\/strong\u003e. Additional episodes followed over the years, including the celebrated \u003cstrong\u003e“Somewhere in California”\u003c\/strong\u003e with \u003cstrong\u003eIggy Pop and Tom Waits\u003c\/strong\u003e, before the accumulated material was finally assembled into the feature-length film. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than following a conventional narrative, the film consists of \u003cstrong\u003eeleven self-contained conversations\u003c\/strong\u003e, nearly all built around the same modest ingredients: a table, cups of coffee, cigarettes and two or more people attempting to communicate.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe situations range from absurdly comic to awkward, competitive, melancholy and unexpectedly intimate.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eJarmusch uses repetition as part of the structure. Cups and saucers reappear. Checkerboard tabletops recur. Characters interrupt one another, misunderstand each other, posture, gossip and sit through uncomfortable silences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe result is a film less concerned with conventional plot than with the rhythms and tiny tensions of \u003cstrong\u003eordinary human conversation\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe cast\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePart of the film’s enduring appeal lies in its extraordinary collection of performers appearing either as fictionalised versions of themselves or in deliberately playful roles.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eIggy Pop and Tom Waits\u003c\/strong\u003e trade increasingly competitive stories about music and medicine.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCate Blanchett\u003c\/strong\u003e plays both herself and her fictional cousin in the same vignette.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eAlfred Molina and Steve Coogan\u003c\/strong\u003e negotiate an increasingly uncomfortable celebrity encounter.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJack and Meg White\u003c\/strong\u003e discuss Nikola Tesla.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAnd \u003cstrong\u003eGZA, RZA and Bill Murray\u003c\/strong\u003e share one of the film’s most memorable encounters over tea and coffee.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe accumulation of these small meetings creates a portrait of conversation itself—how people connect, compete, perform and occasionally fail completely to understand one another.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese first-release poster is an exceptionally strong piece of \u003cstrong\u003eminimalist black, white and red graphic design\u003c\/strong\u003e, perfectly reflecting the visual language of the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe upper section is dominated by an \u003cstrong\u003eoverhead black-and-white photograph of a café table\u003c\/strong\u003e, showing multiple coffee cups and saucers, an ashtray and hands entering the composition from different directions.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe bird’s-eye perspective immediately evokes the recurring visual geometry of the film, in which Jarmusch repeatedly photographs characters sitting across from one another at small tables.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than selecting a conventional cast photograph, the Japanese campaign reduces the movie to its essential objects:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003ecoffee, cigarettes, tables and conversation.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe image is particularly effective because the human subjects themselves are largely absent. Only their hands are visible, allowing the cups and table arrangement to stand in for the film’s entire collection of encounters.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eTypography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the centre appears the enormous Japanese title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eコーヒー＆シガレッツ\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe word forms are rendered in a combination of \u003cstrong\u003esolid black and outlined black typography\u003c\/strong\u003e, while the oversized:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e＆\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis printed in brilliant \u003cstrong\u003ered\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat single red element becomes the visual hinge of the entire poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe smaller English title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCOFFEE\u003cbr\u003eAND\u003cbr\u003eCIGARETTES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eis embedded within the Japanese typography alongside:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eA FILM BY JIM JARMUSCH\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe composition is deliberately clean and almost editorial in appearance, echoing the film’s precise monochrome photography while avoiding conventional star-driven movie advertising.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese campaign copy\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt upper right appears the wonderfully concise campaign line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e「コーヒーを一杯\u003cbr\u003eタバコを一服\u003cbr\u003e会話を楽しむ\u003cbr\u003e人生を楽しむ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eApproximately:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“Have a cup of coffee.\u003cbr\u003eHave a cigarette.\u003cbr\u003eEnjoy the conversation.\u003cbr\u003eEnjoy life.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is an unusually apt summary of the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than attempting to explain eleven different stories, the copy reduces the entire movie to the small rituals shared by its characters.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eEnsemble billing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lower third changes dramatically into a dense \u003cstrong\u003eblack field\u003c\/strong\u003e, against which the cast is presented in white Japanese typography separated by small red plus signs.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe repeated \u003cstrong\u003e“+”\u003c\/strong\u003e signs are a particularly clever piece of graphic language, visually expressing the basic structure of the film: \u003cstrong\u003eone personality placed opposite another and allowed to collide\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJim Jarmusch\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBy the time \u003cem\u003eCoffee and Cigarettes\u003c\/em\u003e reached Japanese cinemas, \u003cstrong\u003eJim Jarmusch\u003c\/strong\u003e had established one of the most distinctive bodies of work in American independent cinema through films including \u003cem\u003eStranger Than Paradise\u003c\/em\u003e, \u003cem\u003eDown by Law\u003c\/em\u003e, \u003cem\u003eMystery Train\u003c\/em\u003e, \u003cem\u003eDead Man\u003c\/em\u003e and \u003cem\u003eGhost Dog: The Way of the Samurai\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cem\u003eCoffee and Cigarettes\u003c\/em\u003e distils many of his characteristic concerns into their simplest possible form: \u003cstrong\u003eoutsiders, musicians, deadpan humour, awkward pauses, cultural misunderstandings and seemingly insignificant moments that gradually reveal something larger about the people involved\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster captures that sensibility unusually well.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt does not attempt to make the film louder or more conventional than it is. Instead, it embraces its \u003cstrong\u003emonochrome photography, repetition, conversational structure and dry humour\u003c\/strong\u003e, making this one of the most appropriate international designs for the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eExcellent+ original condition overall.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains \u003cstrong\u003eexceptionally clean black-and-white photographic definition\u003c\/strong\u003e, strong deep blacks and a particularly vivid \u003cstrong\u003ered ampersand\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe large Japanese typography remains crisp and sharply printed, while the lower black field and extensive cast lettering retain excellent contrast.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere are only \u003cstrong\u003every minor signs of age and handling\u003c\/strong\u003e, with no significant damage affecting the principal artwork.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse remains clean overall. There are \u003cstrong\u003efour small rectangular areas of tape \/ previous display attachment near the corners on the reverse\u003c\/strong\u003e, visible in the photographs. These do not affect the printed front or the overall presentation of the poster.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ePlease review all photographs carefully; they show the \u003cstrong\u003eexact poster for sale, front and reverse\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster from the film’s 2005 first Japanese release campaign\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is approximately \u003cstrong\u003e21 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCode: S267\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57283706388858,"sku":null,"price":425.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_45_656a8146-4135-446a-a88a-445af5691e60.jpg?v=1789766717","url":"https:\/\/japanposter.co.uk\/products\/coffee-and-cigarettes-%e3%82%b3%e3%83%bc%e3%83%92%e3%83%bc-%e3%82%b7%e3%82%ac%e3%83%ac%e3%83%83%e3%83%84-original-release-japanese-movie-poster-2003-b2-size-51-73-cm-p39-copy","provider":"Japan Poster Shop","version":"1.0","type":"link"}