{"product_id":"irreversible-straight-cut-alex-original-japanese-first-release-movie-poster-2020-gaspar-noe-b2-size-51-73-cm-s54","title":"“Irréversible: Straight Cut \/ Alex”, Original Japanese First Release Movie Poster 2020, Gaspar Noé, B2 Size (51 × 73 cm) S54","description":"\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B2 theatrical poster produced for the 2020 Japanese release of Gaspar Noé’s \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eIrréversible: Straight Cut\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e, released in Japan under the title \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eAlex: Straight Cut\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e (アレックス STRAIGHT CUT).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eStarring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonica Bellucci, Vincent Cassel,\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAlbert Dupontel\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the film is Gaspar Noé’s chronological re-edit of his notorious 2002 feature \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eIrréversible\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e. Rather than presenting the story backwards as in the original cut, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eStraight Cut\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e reconstructs the events in chronological order, radically changing the emotional experience of the film while leaving its central themes of violence, love, fate and irreversible consequence intact.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis Japanese B2 is an especially powerful design, dominated by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonica Bellucci’s profile against an oppressive field of deep crimson and black\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, with reversed typography referencing the formal structure that made the original film famous.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eFilm background\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eGaspar Noé’s original \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eIrréversible\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e became one of the most controversial films of the early 2000s.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe story centres on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAlex, Marcus and Pierre\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, played respectively by Monica Bellucci, Vincent Cassel and Albert Dupontel. In the original 2002 version, the narrative unfolds in reverse chronological order, beginning with devastating consequences and gradually travelling backwards towards the comparatively ordinary and intimate events that preceded them.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIts reverse structure transformed the film into a brutal meditation on causality: the audience knows the final outcome before being shown the lives and relationships that will eventually be destroyed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eFor \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003e\u003cspan\u003eIrréversible: Straight Cut\u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e, Noé reorganised the film into chronological order. The new version begins with the characters before tragedy enters their lives and proceeds forward towards its increasingly harrowing conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe re-edit therefore produces a dramatically different experience. Rather than uncovering the past behind a catastrophe, the viewer watches happiness, intimacy and normality gradually move towards an outcome that cannot be stopped.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe chronological version received its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eworld premiere at the 76th Venice International Film Festival in 2019\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, an accolade prominently referenced on this Japanese campaign poster.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003ePoster design\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis Japanese B2 uses a remarkably severe and controlled visual composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe entire poster is saturated in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edark blood-red, burgundy and black\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, immediately recalling the suffocating visual atmosphere of Noé’s film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAt left, \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonica Bellucci as Alex\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e appears in profile, illuminated by harsh orange-red light while almost disappearing into the surrounding darkness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe image is intimate but ominous. Rather than using action imagery or a conventional cast montage, the poster isolates Alex as the emotional centre of the story.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHer figure occupies almost the full vertical height of the sheet, while the large surrounding fields of red and black create a sense of claustrophobia and impending catastrophe.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eReversed typography\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eRunning vertically along the right side is the enormous English title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“IRREVERSIBLE”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe typography uses reversed or mirrored letterforms, directly referencing the formal device of Noé’s original film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe same visual strategy appears in the cast billing at left:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eBƎLLUCCI\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eCASSƎL\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eDUPONTƎL\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is an especially clever element of the Japanese design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlthough this poster advertises the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003echronological “Straight Cut”\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, its graphic identity deliberately preserves the reversed typography associated with the original \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eIrréversible\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, visually connecting the two versions of the film.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eJapanese campaign copy\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe principal vertical tagline reads:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「時はすべてを破壊する」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“Time destroys everything.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is the defining philosophical statement associated with the film and encapsulates Noé’s bleak view of time as an unstoppable force against which human actions cannot be undone.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAt upper left, the promotional text stresses the film’s notorious reputation:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「途中退場者続出。映画史上最も禁忌を侵した傑作、日本劇場本公開」\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eApproximately:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“Audiences walked out one after another. The masterpiece that violated some of the greatest taboos in film history—now released theatrically in Japan.”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe copy deliberately foregrounds the controversy that has surrounded the film since its original release.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe Japanese title dominates the lower portion:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「アレックス」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Alex”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003efollowed by:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“STRAIGHT CUT”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe use of Alex’s name as the Japanese title places \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eMonica Bellucci’s character at the emotional centre of the campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, rather than foregrounding the more abstract international title.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eGaspar Noé and Irréversible\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eGaspar Noé is one of the most visually and formally provocative filmmakers in contemporary European cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAcross films including \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eI Stand Alone\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eEnter the Void\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLove\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eClimax\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eVortex\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, he has repeatedly experimented with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enarrative structure, extreme camera movement, colour, sound and subjective experience\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cem\u003e\u003cspan\u003eIrréversible\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e remains perhaps his most notorious work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eStraight Cut\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e is particularly fascinating because it demonstrates how profoundly \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eediting and chronology can alter the meaning of identical footage\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. The events themselves remain substantially unchanged, yet rearranging their order transforms how the audience understands the characters, their relationships and the inevitability of the film’s conclusion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis Japanese poster captures that duality brilliantly through its combination of a chronological re-release and deliberately reversed graphic typography.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eCondition\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eVery Good+.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe poster retains \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexcellent colour density, deep reds and blacks, strong photographic detail and very powerful overall display impact\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThere is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003elight handling and surface wear, together with minor edge wear and small tear (repaired with archival tape on verso) along the right-hand margin\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, visible in the detailed photographs. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThese issues have been taken into account in the condition grade.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eImportantly, the principal image of Monica Bellucci, title typography and main red-black design remain strong and visually striking. \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eOnce professionally framed, this poster will display extremely well.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003ePlease review all photographs carefully—they show the exact poster for sale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis poster is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese theatrical B2 from the 2020 \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eStraight Cut\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cstrong\u003e\u003cspan\u003e release campaign\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot an original 2002 theatrical poster\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and it is \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003enot a reproduction or modern reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003eCertificate of Authenticity included.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57210139640186,"sku":null,"price":125.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-08-28T180833.635.jpg?v=1787908244","url":"https:\/\/japanposter.co.uk\/products\/irreversible-straight-cut-alex-original-japanese-first-release-movie-poster-2020-gaspar-noe-b2-size-51-73-cm-s54","provider":"Japan Poster Shop","version":"1.0","type":"link"}