{"product_id":"requiem-for-a-dream-レクイエム-フォー-ドリーム-original-japanese-first-release-movie-poster-2001-b2-size-51-73-cm-za277-copy-1","title":"“Requiem for a Dream” (レクイエム・フォー・ドリーム), Original Japanese First-Release Movie Poster 2001, B2 Size (51 × 73 cm) S265","description":"\u003cp dir=\"auto\"\u003eThis is an \u003cstrong\u003eoriginal Japanese B2 theatrical poster produced for the first Japanese release of Darren Aronofsky’s\u003c\/strong\u003e \u003cem\u003e\u003cstrong\u003eRequiem for a Dream\u003c\/strong\u003e\u003c\/em\u003e in \u003cstrong\u003e2001\u003c\/strong\u003e, starring \u003cstrong\u003eEllen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAdapted from \u003cstrong\u003eHubert Selby Jr.’s 1978 novel\u003c\/strong\u003e, the film follows four interconnected characters whose dreams of love, success, security and reinvention are gradually consumed by addiction and obsession. Aronofsky transforms their decline into an extraordinarily stylised piece of filmmaking, combining rapid montage, extreme close-ups, split screens and repeated visual motifs with the now-iconic \u003cstrong\u003eClint Mansell score performed with the Kronos Quartet\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eMore than two decades after its release, \u003cem\u003eRequiem for a Dream\u003c\/em\u003e remains one of the defining independent American films of its era and one of the most uncompromising cinematic depictions of addiction.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAt the centre of the story is \u003cstrong\u003eHarry Goldfarb\u003c\/strong\u003e, played by Jared Leto, who dreams of building a better life with his girlfriend \u003cstrong\u003eMarion Silver\u003c\/strong\u003e, played by Jennifer Connelly.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eTogether with Harry’s friend \u003cstrong\u003eTyrone C. Love\u003c\/strong\u003e, played by Marlon Wayans, they imagine that dealing drugs will provide the money and freedom needed to escape their circumstances.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRunning parallel is the story of Harry’s mother, \u003cstrong\u003eSara Goldfarb\u003c\/strong\u003e, played by Ellen Burstyn.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eLiving alone and fixated on television, Sara becomes convinced that she has been selected to appear on her favourite programme. Determined to fit into a treasured red dress, she begins taking prescription diet pills and gradually develops a devastating dependency of her own.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe four stories are organised around the passage of \u003cstrong\u003esummer, fall and winter\u003c\/strong\u003e, with Aronofsky progressively accelerating the film’s editing and visual fragmentation as each character loses control.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRather than treating addiction solely as a story about narcotics, the film extends the idea to \u003cstrong\u003etelevision, food, aspiration, validation, money and romantic fantasy\u003c\/strong\u003e—different manifestations of the same desperate need for escape.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eEllen Burstyn\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAlthough the film contains four central performances, \u003cstrong\u003eEllen Burstyn’s portrayal of Sara Goldfarb\u003c\/strong\u003e became particularly celebrated.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eHer transformation from lonely, optimistic widow to a woman increasingly detached from reality provides the film with much of its emotional weight.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBurstyn received an \u003cstrong\u003eAcademy Award nomination for Best Actress\u003c\/strong\u003e for the performance, and her scenes remain among the most devastating in Aronofsky’s filmography.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe tragedy of Sara is particularly powerful because her dream initially appears so modest: she wants to wear her favourite dress, appear on television and feel visible again.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eDesign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese first-release poster is an outstanding piece of \u003cstrong\u003eearly-2000s graphic design\u003c\/strong\u003e, combining photography, typography, diagrams, icons and film stills into a composition that resembles a piece of clinical or technological information design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe upper two-thirds are dominated by an enormous \u003cstrong\u003eunblinking human eye\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe iris is rendered with extraordinary photographic detail—icy blue-grey against bloodshot white—while the pupil contains the tiny inscription:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“FROM THE DIRECTOR OF π”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe eye immediately evokes several of the film’s recurring visual obsessions: \u003cstrong\u003esurveillance, fixation, altered perception and the physical effects of addiction\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt also reproduces one of Aronofsky’s most characteristic filmmaking devices. Throughout \u003cem\u003eRequiem for a Dream\u003c\/em\u003e, eyes, pupils and bodily reactions appear in abrupt extreme close-up as part of the film’s repeated “hip-hop montage” sequences.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eTypography\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eStretching dramatically across the top is the stylised title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eREQUIEM 4 A DREAM\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe enormous condensed red lettering is intersected by delicate horizontal lines and concentric circles, giving the design the appearance of a technical diagram, medical chart or targeting system.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe substitution of \u003cstrong\u003e“4”\u003c\/strong\u003e for “for” reinforces the poster’s turn-of-the-millennium visual language.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eImmediately beneath appears the Japanese title:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eレクイエム・フォー・ドリーム\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003ealso rendered in red.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe combination of photographic realism and precision graphics gives the poster a deliberately cold, controlled appearance—an effective contrast with the emotional and physical chaos depicted in the film.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe cast strip\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAcross the lower section, the four principal performers are identified in large white typography:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eELLEN BURSTYN\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJARED LETO\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eJENNIFER CONNELLY\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMARLON WAYANS\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eSmall photographic portraits are integrated directly into the names, creating another layer of information within the design.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eBelow them is a sequence of minimalist pictograms referring to recurring objects and behaviours from the film, followed by a strip of tiny photographic frames.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThese include some of the film’s most recognisable visual motifs: \u003cstrong\u003epills, television imagery, food, money, bodily close-ups and fragments of the characters’ increasingly unstable worlds\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster therefore functions almost like a visual index of the film itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eThe campaign line\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eRunning through the lower graphic field is the English line:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003e“They held each other and kissed and pushed each other’s darkness into the corner, believing in each other’s light, each other’s dream.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eAgainst the clinical appearance of the surrounding design, the line introduces a strikingly intimate element.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt reminds the viewer that beneath the film’s notorious intensity is a story about people attempting—unsuccessfully—to sustain one another through shared dreams.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eMusic and editing\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film’s visual identity cannot really be separated from its music.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eClint Mansell’s score\u003c\/strong\u003e, performed in collaboration with the \u003cstrong\u003eKronos Quartet\u003c\/strong\u003e, became almost as culturally recognisable as the film itself.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIts recurring string theme builds from mournful restraint into overwhelming repetition, mirroring the structure of Aronofsky’s editing.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe film repeatedly compresses ordinary actions into extremely rapid sequences: preparation, consumption and physical reaction become mechanical cycles.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThat rhythmic combination of \u003cstrong\u003eimage, cutting and music\u003c\/strong\u003e was enormously influential on subsequent film, advertising, trailers and music-video aesthetics.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe Japanese poster captures that sensibility unusually well. It does not simply advertise the actors; it attempts to reproduce the film’s entire \u003cstrong\u003evisual system\u003c\/strong\u003e on a single sheet.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eJapanese first-release campaign\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe poster retains its original period details, including the \u003cstrong\u003ePioneer LDC\u003c\/strong\u003e presentation credit and \u003cstrong\u003eXanadeux\u003c\/strong\u003e distribution credit at the upper edge, together with the original Japanese campaign website:\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003erequiem-jp.com\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe lower credit block also carries the film’s original production and distribution marks, reinforcing its status as genuine Japanese theatrical advertising from the film’s \u003cstrong\u003e2001 first-release campaign\u003c\/strong\u003e rather than later decorative merchandise.\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\u003estrong, vivid colour and excellent photographic definition\u003c\/strong\u003e, particularly across the enormous central eye and the deep black-and-red graphic elements.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe red \u003cstrong\u003eREQUIEM 4 A DREAM\u003c\/strong\u003e title remains bright and sharply defined, while the smaller cast portraits, iconography and lower photographic strip are clean and highly legible.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThere are only \u003cstrong\u003eminor signs of age and handling\u003c\/strong\u003e, including subtle surface impressions and very light natural paper character visible under close inspection. There are \u003cstrong\u003eno prominent fold lines, major tears or significant defects affecting the principal artwork\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eThe reverse is notably clean, showing only light age-related handling consistent with an original poster from \u003cstrong\u003e2001\u003c\/strong\u003e.\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 first Japanese release campaign in 2001\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is \u003cstrong\u003enot a reproduction or modern reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003eIt is approximately \u003cstrong\u003e25 years old\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp dir=\"auto\"\u003e\u003cstrong\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57279852380538,"sku":null,"price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments_32_5027683f-2022-4b33-b9e7-1b7c7fe9d8db.jpg?v=1789692075","url":"https:\/\/japanposter.co.uk\/products\/requiem-for-a-dream-%e3%83%ac%e3%82%af%e3%82%a4%e3%82%a8%e3%83%a0-%e3%83%95%e3%82%a9%e3%83%bc-%e3%83%89%e3%83%aa%e3%83%bc%e3%83%a0-original-japanese-first-release-movie-poster-2001-b2-size-51-73-cm-za277-copy-1","provider":"Japan Poster Shop","version":"1.0","type":"link"}