{"product_id":"the-war-is-over-la-guerre-est-finie-original-japanese-first-release-movie-poster-1967-atg-b2-size-51-73-cm-s42","title":"“The War Is Over \/ La Guerre est finie”, Original Japanese First Release Movie Poster 1967, ATG, B2 Size (51 × 73 cm) S42","description":"\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis is an \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eoriginal Japanese B2 theatrical poster produced for the first Japanese release of Alain Resnais’ \u003c\/span\u003e\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cspan\u003eThe War Is Over\u003c\/span\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cspan\u003e (\u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLa Guerre est finie\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e \/ 戦争は終った) in \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1967\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e. Starring \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYves Montand, Ingrid Thulin, Geneviève Bujold, Michel Piccoli,\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and Jean Dasté, the film was written by Spanish novelist and former anti-Franco resistance activist \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eJorge Semprún\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eDistributed in Japan jointly by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eTowa and the legendary Art Theatre Guild (ATG)\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, this exceptionally sophisticated poster is a superb example of the radical graphic language that characterised Japanese promotion of European art-house cinema during the late 1960s.\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\u003eSet in 1965, \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe War Is Over\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e follows Diego Mora, played by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYves Montand\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, a veteran Spanish communist revolutionary who has spent decades operating clandestinely from exile in Paris against the dictatorship of Francisco Franco.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAfter crossing the French-Spanish border using a false identity, Diego learns that his underground network may be compromised. Over the course of several tense days, he begins to question not only the organisation’s tactics but also the political assumptions that have governed much of his adult life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eHis relationship with his partner Marianne, played by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eIngrid Thulin\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and his encounter with a younger generation of political radicals force him to confront the gulf between revolutionary idealism and the realities of a struggle that appears increasingly detached from contemporary Spain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eRather than functioning as a conventional political thriller, the film becomes an intricate meditation on \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003epolitical commitment, exile, memory, ageing, ideological doubt, love, and the psychological cost of living permanently in opposition\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eDirected by \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eAlain Resnais\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, the filmmaker behind \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHiroshima mon amour\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLast Year at Marienbad\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e, the film was written by Jorge Semprún, himself a veteran of the Spanish Communist underground. That personal experience gives the film an unusual degree of political and emotional authenticity.\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 original Japanese B2 is an outstanding example of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1960s ATG-era graphic design\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, using photography, typography, negative space, and a single aggressive colour accent rather than conventional painted star portraits.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe upper half is dominated by an enormous high-contrast black-and-white photograph of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eYves Montand and Ingrid Thulin embracing on a stairwell\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe image is intimate yet uneasy. Thulin’s face is visible over Montand’s shoulder, her expression suggesting emotional dependence, uncertainty, and exhaustion, while Montand himself is presented almost entirely from behind.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis withholding of the protagonist’s face is particularly effective. Rather than presenting Diego as a conventional heroic revolutionary, the poster emphasises the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eemotional burden and anonymity of clandestine political life\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAcross Montand’s back, the Japanese title is rendered in expressive white brush lettering:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「戦争は終った」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“The War Is Over”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe hand-rendered calligraphy contrasts sharply with the mechanical quality of the photographic reproduction, introducing a distinctly Japanese visual element into the otherwise European modernist composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eThe red vertical axis\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eOne of the strongest graphic elements is the narrow \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003escarlet-red vertical line\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e running through the lower-right portion of the design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAlong this axis, a sequence of small photographic fragments shows the film’s central characters in moments of intimacy, anxiety, and confrontation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eBeside them appears the original French title:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e“LA GUERRE EST FINIE”\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“UN FILM DE ALAIN RESNAIS”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe red strip functions almost like a cinematic editing line, fragmenting the poster into separate moments in time. It echoes Resnais’ own fascination with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ememory, discontinuity, subjective experience, and temporal fragmentation\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe composition therefore does more than advertise the film—it visually reflects Resnais’ filmmaking language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eAwards and Japanese campaign\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe poster prominently records the film’s prestigious international recognition, including its \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003ePrix Louis-Delluc\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, one of the most important awards in French cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIt also identifies the film as a participant in the \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1967 Japanese Arts Festival\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, reinforcing the seriousness with which the film was presented to Japanese audiences.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe main credits identify:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003e「監督＝アラン・レネ」\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003e“Directed by Alain Resnais”\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003etogether with principal performers:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eイヴ・モンタン\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Yves Montand\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eイングリット・チューリン\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Ingrid Thulin\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eジュヌヴィエーヴ・ビジョルド\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Geneviève Bujold\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan\u003eミシェル・ピッコリ\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e — Michel Piccoli\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe original \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eATG and TOWA distribution emblems\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e remain clearly visible at lower right, providing excellent first-release provenance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eATG and the Japanese art-house movement\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eArt Theatre Guild of Japan\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e played a fundamental role in introducing challenging international cinema to Japanese audiences while simultaneously supporting the emerging Japanese avant-garde.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eATG distributed films by major European filmmakers alongside groundbreaking Japanese works and later became directly involved in producing films by directors including \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eNagisa Ōshima, Toshio Matsumoto, Shūji Terayama, Yoshishige Yoshida, Akio Jissoji,\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e and others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIts posters frequently rejected the conventional commercial language of mainstream movie advertising in favour of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eexperimental photography, radical typography, asymmetric compositions, and contemporary graphic-design principles\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThis \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eThe War Is Over\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e poster exemplifies that aesthetic perfectly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe combination of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003eResnais, Montand, French Left Bank cinema, Towa and ATG\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e gives the piece considerable crossover appeal to collectors of European cinema and Japanese post-war graphic design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cstrong\u003e\u003cspan\u003eCultural significance\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cem\u003e\u003cspan\u003eThe War Is Over\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e occupies an important position in Resnais’ career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eWhere \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eHiroshima mon amour\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cem\u003e\u003cspan\u003eLast Year at Marienbad\u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003e explored memory through highly abstract structures, this film applies many of the director’s formal concerns to an overtly political narrative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eAt its centre is the question of what happens when a revolutionary movement begins to become part of the history it is attempting to change.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe film’s mixture of political realism and subjective memory made it a significant work of \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e1960s European political cinema\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, while its Japanese release through ATG places this poster firmly within one of the most important periods of international art-house culture in Japan.\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+ \/ Excellent.\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe poster remains visually impressive, with \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003edeep black tones, strong photographic contrast, crisp white typography, and a vivid red accent line\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eThe folds and subtle signs of use are entirely consistent with a \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003egenuine working Japanese cinema poster from 1967\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e, and once professionally framed the poster will display exceptionally well.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003ePlease review the 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 1967 first-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 a reproduction or a modern reprint\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"isSelectedEnd\"\u003e\u003cspan\u003eIt is approximately \u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e59 years old\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\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":57201807393146,"sku":null,"price":225.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0424\/8859\/4591\/files\/wall-shelf-with-ornaments-2026-08-25T161347.583.jpg?v=1787642236","url":"https:\/\/japanposter.co.uk\/products\/the-war-is-over-la-guerre-est-finie-original-japanese-first-release-movie-poster-1967-atg-b2-size-51-73-cm-s42","provider":"Japan Poster Shop","version":"1.0","type":"link"}