A significant cultural event in the cinematic landscape unfolded recently with the release of an 11-minute video featuring acclaimed British-Nigerian filmmaker Akinola Davies Jr., wherein he meticulously unpacks a curated selection of his favorite iconic movie posters from across cinema history. The video, hosted by the revered streaming platform Mubi and produced in partnership with the esteemed poster collector site Posteritati, offers a unique glimpse into the visual inspirations that shape one of contemporary cinema’s most compelling new voices. Released on April 19, 2026, the discussion serves not merely as a list of preferred graphic designs but as a profound exploration of the symbiotic relationship between a film’s visual identity and its enduring legacy, all while providing insight into Davies’s own artistic sensibilities following the critical success of his feature debut, My Father’s Shadow.
Akinola Davies Jr.: A Rising Star in Contemporary Cinema
Akinola Davies Jr. has rapidly established himself as a filmmaker with a distinct vision, blending cultural specificity with universal human themes. His journey to feature film direction followed a successful career in short films, music videos, and art installations, demonstrating a multidisciplinary approach to storytelling. His work often explores themes of identity, memory, and socio-political landscapes, frequently drawing from his British-Nigerian heritage. This rich background informs his perspective on cinematic art, making his insights into film posters particularly resonant.
The year 2025 marked a pivotal moment in Davies’s career with the premiere of his debut feature film, My Father’s Shadow. The film garnered immediate international attention, debuting at the prestigious Cannes Film Festival, a highly competitive platform for global cinema. Its selection for Cannes underscored its artistic merit and established Davies as a significant directorial talent. Following its critical reception there, the film was subsequently submitted for consideration at the Academy Awards, a testament to its perceived quality and impact within the industry. The ultimate accolade for his debut came with the BAFTA Award for Outstanding Debut by a British Writer/Director, solidifying his position as a formidable new force in British cinema. Mubi, known for its discerning curation of arthouse and independent films, recognized the film’s significance, opening it in theaters globally just a few months prior to this poster discussion video, specifically on February 6, 2026. The widespread critical acclaim and audience engagement with My Father’s Shadow provide crucial context for Davies’s current status and the weight of his opinions on cinematic art.
My Father’s Shadow itself is a poignant and semi-autobiographical narrative set against the tumultuous backdrop of the 1993 Nigerian election crisis. The film follows a father, portrayed with compelling depth by the talented Sope Dirisu, as he navigates the sprawling, vibrant, yet politically charged city of Lagos. Estranged from his two young sons, the narrative unfolds over a single day as they attempt to reconnect and journey home amidst escalating political unrest. The screenplay, co-written by Akinola Davies Jr. and Wale Davies, masterfully weaves personal drama with historical upheaval, offering a deeply intimate portrayal of a family’s struggle for connection against a momentous national crisis. Produced by Rachel Dargavel and Funmbi Ogunbanwo, the film’s meticulous attention to detail, evocative cinematography, and powerful performances have been widely praised, contributing to its critical and commercial success. Its exploration of identity, family bonds, and the intersection of the personal and political resonates deeply with the themes often found in the films Davies discusses in his Mubi video.
The Collaborative Platform: Mubi and Posteritati
The video featuring Akinola Davies Jr. is a product of a thoughtful collaboration between Mubi and Posteritati, two entities deeply committed to the preservation and appreciation of film art. Mubi operates as a unique streaming service, a global film distributor, and a production company, distinguished by its highly curated approach. Unlike broad streaming platforms, Mubi offers a daily selection of hand-picked arthouse, independent, and classic films, available for a limited time. This model fosters a dedicated community of cinephiles and positions Mubi as a thought leader in global cinema, making it an ideal platform for a nuanced discussion on film aesthetics. Their commitment extends beyond streaming to encompass publishing and original content, such as this filmmaker-led discussion, which enriches the viewer’s understanding of cinema.
Complementing Mubi’s cinematic expertise is Posteritati, a world-renowned gallery and online resource for original vintage movie posters. Based in New York City, Posteritati has been a beacon for collectors and enthusiasts since 1996, boasting an extensive collection that spans the history of cinema. Their inventory includes rare and iconic posters from various eras and international productions, often serving as crucial historical documents of film promotion and graphic design. The partnership with Posteritati lends significant credibility and depth to Davies’s discussion, providing access to high-quality images and expert context on the history and artistry of film poster design. This collaboration underscores a shared belief in the power of visual storytelling, not only on screen but also in the ancillary art forms that define a film’s public identity. The synergy between Mubi’s reach and Posteritati’s expertise creates a comprehensive and authoritative platform for delving into the art of the movie poster.
Decoding Cinematic Identity: Davies’s Selected Posters
Akinola Davies Jr.’s selection of favorite movie posters is a revealing journey through diverse cinematic traditions and powerful visual storytelling. Each poster, and the film it represents, offers a window into Davies’s aesthetic preferences and his appreciation for cinema’s global tapestry. His choices highlight posters that transcend mere advertising to become iconic artworks in their own right, encapsulating the essence of their respective films with striking imagery and profound thematic resonance.
Elem Klimov’s Come and See (1985):
Davies’s inclusion of Come and See is particularly telling. This Soviet anti-war film, directed by Elem Klimov, is a harrowing masterpiece that depicts the atrocities committed by Nazi forces in Belarus during World War II from the perspective of a young boy. It is widely regarded as one of the most powerful and disturbing war films ever made. The film’s poster often features stark, haunting imagery, such as a close-up of the protagonist’s traumatized face or a desolate landscape scarred by war. Davies likely appreciates how these posters immediately convey the film’s brutal honesty and psychological impact, using minimal elements to evoke profound dread and human suffering. The poster’s ability to communicate the film’s emotional intensity and historical gravity without resorting to sensationalism aligns with a preference for art that is both impactful and understated. Its timeless design captures the film’s enduring message about the horrors of war.
Lila Avilés’ The Chambermaid (2018):
From a contemporary perspective, Davies highlights Lila Avilés’s The Chambermaid (original title La camarista), a Mexican drama that offers an intimate, observational portrait of Eve, a young chambermaid working in a luxurious Mexico City hotel. The film subtly explores themes of labor, class, ambition, and the invisible lives of service workers. Posters for The Chambermaid often feature Eve in her uniform, perhaps in a corridor or performing a routine task, emphasizing her quiet presence within a grand setting. Davies’s appreciation for this poster likely stems from its ability to capture the film’s minimalist aesthetic and its focus on character and internal struggle. The poster’s quiet dignity and realistic portrayal reflect the film’s unvarnished humanism, mirroring Davies’s own interest in authentic storytelling and character-driven narratives, as seen in My Father’s Shadow. The visual language of the poster, much like the film, invites contemplation rather than overt action.
Hirokazu Koreeda’s Shoplifters (2018):
Another contemporary masterpiece on Davies’s list is Hirokazu Koreeda’s Shoplifters (original title Manbiki Kazoku), a Japanese drama that won the Palme d’Or at the 2018 Cannes Film Festival. The film tells the story of a family of petty criminals who rely on shoplifting to survive, exploring unconventional familial bonds and societal judgments. Posters for Shoplifters often depict the family unit, perhaps in a moment of shared joy or quiet reflection, hinting at their complex dynamics and the warmth beneath their illicit activities. Davies likely admires how the poster manages to convey the film’s delicate balance of melancholy and warmth, its critique of social structures, and its profound empathy for its characters. The visual design often uses natural light and intimate framing, reflecting Koreeda’s signature humanistic approach. This choice underscores Davies’s appreciation for films and posters that subtly reveal emotional depth and complex moral questions.
Mikhail Kalatozov’s I Am Cuba (1964):
Davies’s selection of Mikhail Kalatozov’s I Am Cuba (original title Soy Cuba) reveals an appreciation for groundbreaking cinematic technique and political allegory. This Soviet-Cuban co-production is renowned for its breathtaking, avant-garde cinematography, featuring audacious long takes, sweeping crane shots, and innovative camera movements. The film is a poetic and often surreal portrayal of pre-revolutionary Cuba, divided into four vignettes. Posters for I Am Cuba are often as visually arresting as the film itself, featuring bold graphic elements, striking contrasts, and evocative imagery that captures the revolutionary spirit and the film’s distinctive visual style. Davies likely values the poster’s ability to mirror the film’s experimental nature and its strong political message. The artistic daring of the poster, much like the film, pushes boundaries and creates a lasting impression, appealing to a filmmaker who himself challenges conventional narrative forms.
Gillo Pontecorvo’s The Battle of Algiers (1966):
Finally, Davies includes Gillo Pontecorvo’s classic The Battle of Algiers (original title La battaglia di Algeri), an Italian-Algerian historical war film that meticulously reconstructs the events of the Algerian War of Independence against the French in the late 1950s. Filmed in a docudrama style, it is celebrated for its realism and its complex portrayal of insurgency and counter-insurgency, offering a nuanced perspective on colonialism and liberation. Posters for The Battle of Algiers are typically stark and powerful, often using black and white photography, bold typography, and images of soldiers or civilians in tense urban environments. Davies’s admiration for this poster likely stems from its directness, its historical gravity, and its ability to communicate the film’s intense political and ethical dilemmas. The poster’s raw, documentary-like aesthetic perfectly encapsulates the film’s powerful realism and its enduring relevance as a study of resistance and oppression. The film’s historical context and its impact on the portrayal of geopolitical conflicts also resonate with the themes present in Davies’s own work.
The Enduring Art of the Movie Poster
The discussion led by Akinola Davies Jr. serves as a powerful reminder of the enduring significance of the movie poster as an art form. Historically, film posters were the primary visual ambassadors for a film, tasked with capturing its essence and attracting audiences in a single, compelling image. From the hand-painted artistry of early cinema to the graphic design innovations of the mid-20th century and the digital composites of today, posters have evolved alongside filmmaking itself. They are not merely promotional tools but cultural artifacts that reflect artistic trends, societal values, and the very soul of a film.
Davies’s selections underscore that the most effective posters transcend simple marketing. They possess an aesthetic autonomy, capable of conveying narrative, mood, and thematic depth with remarkable economy. A well-designed poster can become synonymous with the film it represents, embedding itself in the collective consciousness and influencing how a film is remembered and discussed. In an age dominated by digital promotion, the physical movie poster retains a unique allure, valued by collectors and celebrated by cinephiles for its tangible artistry. Discussions like Davies’s help to elevate the discourse around this often-underappreciated art form, encouraging a deeper appreciation for the creative processes involved in crafting a film’s visual identity.
Broader Implications and Future Directions
Akinola Davies Jr.’s participation in Mubi’s series discussing his favorite movie posters carries several broader implications for film culture and his burgeoning career. Firstly, it positions Davies not just as a successful director but as a thoughtful, cine-literate artist deeply engaged with the history and aesthetics of cinema. Sharing his influences and artistic preferences allows audiences to better understand the inspirations that shape his unique filmmaking voice, fostering a deeper connection with his work. This kind of intellectual engagement is invaluable for a director early in their feature career.
Secondly, the collaboration between Mubi and Posteritati, featuring a director of Davies’s caliber, enriches the global film dialogue. Such initiatives serve as vital educational resources, guiding viewers to discover classic and contemporary masterpieces they might otherwise overlook. By highlighting films like Come and See and The Battle of Algiers alongside The Chambermaid and Shoplifters, Davies promotes a diverse cinematic canon that spans geographies and eras, aligning perfectly with Mubi’s mission to champion world cinema. This can lead to increased viewership for the discussed films, invigorating discussions around their artistic and historical significance.
Finally, for Davies himself, this public exploration of his cinematic inspirations further solidifies his profile within the international film community. It demonstrates his commitment to film as an art form beyond his own productions, painting a picture of a filmmaker deeply immersed in the craft and history of moving images. As My Father’s Shadow continues its successful run and accrues accolades, discussions like these provide valuable context for his artistic evolution and anticipate the thoughtful, visually compelling narratives he is likely to bring to the screen in the future. His ability to articulate the power of a single image, be it on a poster or within a film frame, reaffirms his status as an exciting and insightful voice in contemporary filmmaking.
