{"product_id":"snake-eyes-スネーク-アイズ-original-japanese-movie-poster-1998-b2-size-51-73-cm-za486","title":"“Snake Eyes” \/ 「スネーク・アイズ」, Original Japanese Movie Poster 1998, B2 Size (51 × 73 cm) ZA486","description":"\u003cp data-start=\"96\" data-end=\"307\" class=\"PDq2pG_selectionAnchorContainer\"\u003eThis is an \u003cstrong data-start=\"107\" data-end=\"149\"\u003eoriginal Japanese B2 theatrical poster\u003c\/strong\u003e printed for the Japanese release of \u003cstrong data-start=\"186\" data-end=\"213\"\u003eSnake Eyes \/ 「スネーク・アイズ」\u003c\/strong\u003e, Brian De Palma’s stylish 1998 conspiracy thriller starring \u003cstrong data-start=\"274\" data-end=\"306\"\u003eNicolas Cage and Gary Sinise\u003c\/strong\u003e.\u003cspan aria-hidden=\"true\" class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"309\" data-end=\"547\"\u003eSet almost entirely within a crowded Atlantic City casino and sports arena, the film combines political assassination, surveillance footage, conflicting eyewitness accounts, and De Palma’s characteristically elaborate visual storytelling.\u003c\/p\u003e\n\u003cp data-start=\"549\" data-end=\"737\"\u003eThe Japanese campaign design transforms the film into a wall of fragmented security monitors, inviting the viewer to reconstruct the crime while warning that appearances cannot be trusted.\u003c\/p\u003e\n\u003cp data-start=\"739\" data-end=\"758\"\u003e\u003cstrong data-start=\"739\" data-end=\"758\"\u003eFilm background\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"760\" data-end=\"924\"\u003eThe film follows \u003cstrong data-start=\"777\" data-end=\"793\"\u003eRick Santoro\u003c\/strong\u003e, a flamboyant and morally compromised Atlantic City police detective attending a heavyweight boxing match at a vast casino resort.\u003c\/p\u003e\n\u003cp data-start=\"926\" data-end=\"1116\"\u003eSantoro is accompanied by his childhood friend \u003cstrong data-start=\"973\" data-end=\"998\"\u003eCommander Kevin Dunne\u003c\/strong\u003e, a decorated naval officer responsible for protecting the United States Secretary of Defense, who is seated ringside.\u003c\/p\u003e\n\u003cp data-start=\"1118\" data-end=\"1327\"\u003eDuring the fight, the Secretary is assassinated in front of approximately \u003cstrong data-start=\"1192\" data-end=\"1213\"\u003e14,000 spectators\u003c\/strong\u003e. The arena is immediately sealed, leaving every person inside as both a potential witness and a possible suspect.\u003c\/p\u003e\n\u003cp data-start=\"1329\" data-end=\"1665\"\u003eSantoro begins reconstructing the events surrounding the shooting. By reviewing surveillance footage, retracing movements through the building, and comparing the conflicting accounts of those present, he gradually uncovers a complex conspiracy involving military interests, political corruption, and a mysterious woman dressed in white.\u003c\/p\u003e\n\u003cp data-start=\"1667\" data-end=\"1938\"\u003eAs the same incident is repeatedly revisited from different viewpoints, apparently insignificant gestures and background details take on new meaning. The film becomes an elaborate visual puzzle in which the truth is concealed within the very images intended to reveal it.\u003c\/p\u003e\n\u003cp data-start=\"1940\" data-end=\"2151\"\u003eThe central relationship between Santoro and Dunne gives the conspiracy its emotional weight. Santoro must decide whether loyalty to an old friend is more important than confronting the reality of what occurred.\u003c\/p\u003e\n\u003cp data-start=\"2153\" data-end=\"2292\"\u003eThe film was directed by \u003cstrong data-start=\"2178\" data-end=\"2196\"\u003eBrian De Palma\u003c\/strong\u003e, from a screenplay by \u003cstrong data-start=\"2219\" data-end=\"2234\"\u003eDavid Koepp\u003c\/strong\u003e, with an original score composed by \u003cstrong data-start=\"2271\" data-end=\"2291\"\u003eRyuichi Sakamoto\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"2409\" data-end=\"2641\"\u003e\u003cem data-start=\"2409\" data-end=\"2421\"\u003eSnake Eyes\u003c\/em\u003e is particularly celebrated for its ambitious opening sequence, presented as an extended tracking shot that follows Santoro through the casino, backstage corridors, and crowded arena before the assassination takes place.\u003c\/p\u003e\n\u003cp data-start=\"2643\" data-end=\"2870\"\u003eThe film’s elaborate camera movements, split perspectives, surveillance imagery, and repeated reconstruction of events reflect De Palma’s enduring fascination with voyeurism, deception, and the unreliability of visual evidence.\u003c\/p\u003e\n\u003cp data-start=\"2872\" data-end=\"2889\"\u003e\u003cstrong data-start=\"2872\" data-end=\"2889\"\u003ePoster design\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"2891\" data-end=\"3039\"\u003eThis striking Japanese poster is structured as a dark wall of \u003cstrong data-start=\"2953\" data-end=\"2978\"\u003esurveillance monitors\u003c\/strong\u003e, each containing a different fragment of the film’s mystery.\u003c\/p\u003e\n\u003cp data-start=\"3041\" data-end=\"3203\"\u003eThe composition is dominated by black, deep red, and burnt orange tones, creating the visual atmosphere of security footage viewed within a darkened control room.\u003c\/p\u003e\n\u003cp data-start=\"3205\" data-end=\"3452\"\u003eAcross the right side, several rectangular screens combine to form an enormous fragmented portrait of \u003cstrong data-start=\"3307\" data-end=\"3339\"\u003eNicolas Cage as Rick Santoro\u003c\/strong\u003e. His eyes occupy the central monitors, while isolated sections of his face appear across the surrounding panels.\u003c\/p\u003e\n\u003cp data-start=\"3454\" data-end=\"3601\"\u003eThe divided portrait suggests that Santoro must piece together both the assassination and his own compromised identity from incomplete information.\u003c\/p\u003e\n\u003cp data-start=\"4058\" data-end=\"4318\"\u003eThese scenes are not arranged chronologically. Instead, they function like pieces of evidence scattered across a surveillance system, reinforcing the film’s central question: whether recorded images reveal the truth or merely create another layer of deception.\u003c\/p\u003e\n\u003cp data-start=\"4320\" data-end=\"4366\"\u003eThe large red vertical headline at left reads:\u003c\/p\u003e\n\u003cp data-start=\"4368\" data-end=\"4394\"\u003e\u003cstrong data-start=\"4368\" data-end=\"4394\"\u003e「巨大スタジアムに仕掛けられた戦慄の陰謀！」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4396\" data-end=\"4407\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"4409\" data-end=\"4468\"\u003e\u003cstrong data-start=\"4409\" data-end=\"4468\"\u003e“A terrifying conspiracy set inside a massive stadium!”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4470\" data-end=\"4512\"\u003eThe white vertical tagline at right reads:\u003c\/p\u003e\n\u003cp data-start=\"4514\" data-end=\"4534\"\u003e\u003cstrong data-start=\"4514\" data-end=\"4534\"\u003e「見るもののすべてを信じるな。」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4536\" data-end=\"4547\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"4549\" data-end=\"4589\"\u003e\u003cstrong data-start=\"4549\" data-end=\"4589\"\u003e“Do not believe everything you see.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4591\" data-end=\"4711\"\u003eThis line perfectly expresses the film’s use of restricted viewpoints, manipulated evidence, and misleading appearances.\u003c\/p\u003e\n\u003cp data-start=\"4713\" data-end=\"4750\"\u003eThe red text beneath the title reads:\u003c\/p\u003e\n\u003cp data-start=\"4752\" data-end=\"4783\"\u003e\u003cstrong data-start=\"4752\" data-end=\"4783\"\u003e「目撃者：1万4,000人、容疑者：1万4,000人」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4785\" data-end=\"4796\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"4798\" data-end=\"4840\"\u003e\u003cstrong data-start=\"4798\" data-end=\"4840\"\u003e“Witnesses: 14,000. Suspects: 14,000.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4842\" data-end=\"4920\"\u003eThe names of the two principal stars appear prominently across the upper edge:\u003c\/p\u003e\n\u003cp data-start=\"4922\" data-end=\"4950\"\u003e\u003cstrong data-start=\"4922\" data-end=\"4950\"\u003e「ニコラス・ケイジ」\u003cbr data-start=\"4934\" data-end=\"4937\"\u003e「ゲイリー・シニーズ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"4952\" data-end=\"5040\"\u003eAt the lower centre, the poster highlights the director’s earlier international success:\u003c\/p\u003e\n\u003cp data-start=\"5042\" data-end=\"5094\"\u003e\u003cstrong data-start=\"5042\" data-end=\"5094\"\u003e「『ミッション：インポッシブル』の監督\u003cbr data-start=\"5063\" data-end=\"5066\"\u003eサスペンス・スリラー by ブライアン・デ・パルマ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5096\" data-end=\"5107\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"5109\" data-end=\"5196\"\u003e\u003cstrong data-start=\"5109\" data-end=\"5196\"\u003e“From the director of \u003cem data-start=\"5133\" data-end=\"5154\"\u003eMission: Impossible\u003c\/em\u003e—a suspense thriller by Brian De Palma.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5198\" data-end=\"5223\"\u003eThe large Japanese title:\u003c\/p\u003e\n\u003cp data-start=\"5225\" data-end=\"5239\"\u003e\u003cstrong data-start=\"5225\" data-end=\"5239\"\u003e「スネーク・アイズ」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5241\" data-end=\"5428\"\u003eis rendered in distressed white lettering, divided by a small red diamond. Horizontal red lines extend behind the title, visually connecting it to the surveillance-screen structure above.\u003c\/p\u003e\n\u003cp data-start=\"5430\" data-end=\"5476\"\u003eDirectly beneath appears the prominent credit:\u003c\/p\u003e\n\u003cp data-start=\"5478\" data-end=\"5491\"\u003e\u003cstrong data-start=\"5478\" data-end=\"5491\"\u003e「音楽：坂本龍一」\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5493\" data-end=\"5504\"\u003eTranslated:\u003c\/p\u003e\n\u003cp data-start=\"5506\" data-end=\"5536\"\u003e\u003cstrong data-start=\"5506\" data-end=\"5536\"\u003e“Music: Ryuichi Sakamoto.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"5538\" data-end=\"5702\"\u003eSakamoto’s involvement was given particular prominence in the Japanese campaign, reflecting his stature as one of Japan’s most internationally recognised composers.\u003c\/p\u003e\n\u003cp data-start=\"5704\" data-end=\"5904\"\u003eThe lower edge contains the principal cast and production credits, together with the studio and distribution marks for \u003cstrong data-start=\"5823\" data-end=\"5903\"\u003eParamount Pictures, Touchstone Pictures, and Buena Vista International Japan\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"5906\" data-end=\"6123\"\u003eThe result is an exceptionally effective late-1990s Japanese thriller design: visually complex, highly cinematic, and closely aligned with the film’s themes of surveillance, fragmented perception, and concealed truth.\u003cstrong data-start=\"6125\" data-end=\"6141\"\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6510\" data-end=\"6523\"\u003e\u003cstrong data-start=\"6510\" data-end=\"6523\"\u003eCondition\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6525\" data-end=\"6726\"\u003e\u003cstrong data-start=\"6525\" data-end=\"6549\"\u003eNear Mint condition.\u003c\/strong\u003e An exceptionally well-preserved example, retaining deep black tones, vivid red and amber colour, sharp photographic detail, clean typography, and superb overall display impact.\u003c\/p\u003e\n\u003cp data-start=\"6728\" data-end=\"6913\"\u003eThere are only extremely minor signs of age or handling consistent with an original Japanese theatrical poster from this period. It would be very difficult to improve upon this example.\u003c\/p\u003e\n\u003cp data-start=\"6915\" data-end=\"6936\"\u003e\u003cstrong data-start=\"6915\" data-end=\"6936\"\u003eReference: ZA486.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"6938\" data-end=\"7016\"\u003ePlease review the photograph carefully, as it shows the exact poster for sale.\u003c\/p\u003e\n\u003cp data-start=\"7018\" data-end=\"7153\"\u003eThis is an \u003cstrong data-start=\"7029\" data-end=\"7107\"\u003eoriginal Japanese theatrical poster from the film’s first-release campaign\u003c\/strong\u003e.\u003cbr data-start=\"7108\" data-end=\"7111\"\u003eIt is \u003cstrong data-start=\"7117\" data-end=\"7152\"\u003enot a reproduction or a reprint\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp data-start=\"7155\" data-end=\"7187\"\u003e\u003cstrong data-start=\"7155\" data-end=\"7187\"\u003eIt is now over 25 years old.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-start=\"7189\" data-end=\"7230\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cstrong data-start=\"7189\" data-end=\"7230\" data-is-last-node=\"\"\u003eCertificate of Authenticity included.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Japan Poster Shop","offers":[{"title":"Default Title","offer_id":57089417380218,"sku":null,"price":110.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-07-20T165609.473.jpg?v=1784534241","url":"https:\/\/japanposter.co.uk\/products\/snake-eyes-%e3%82%b9%e3%83%8d%e3%83%bc%e3%82%af-%e3%82%a2%e3%82%a4%e3%82%ba-original-japanese-movie-poster-1998-b2-size-51-73-cm-za486","provider":"Japan Poster Shop","version":"1.0","type":"link"}