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Discover our unique selection of customizable movie-themed wall art to express your passion for the big screen. are you a real film fan? Then design your own four walls with our high-quality film wall pictures and immerse yourself in the world of your favorite films every day.With us you will find a variety of motifs – from classic film posters to modern interpretations of popular film scenes. Our wall pictures films are not only a visual highlight, but can also be perfectly tailored to your personal style. You have the opportunity to choose your desired motif and give it a personal touch. Whether it’s a name, favorite quote or a special date, we will design your mural exactly according to your ideas.Our mural films offer you:- Personalization options: Add a personal touch to your mural – High-quality materials: Long-lasting prints on canvas, acrylic glass or aluminum dibond – Variety of sizes: Choose the right size for your room – Easy installation: With the included installation set you can attach your mural quickly and easily – Safe packaging: your mural reaches you safe and soundMake your home a reflection of your film enthusiasm and enjoy the atmosphere that our film wall pictures create. Order now and create an ambience that perfectly reflects your love of film with just a few clicks. Our shop stands for quality and individuality – find your personal mural now and bring cinema magic into your four walls!
Did you know that during the communist-era a lot of surreal movie posters were created in Poland, as an alternative to banned U.S. publicity material? Some are true works of art! Make sure to have a look at our section of classic Polish posters.
Cinematic artwork
There are a few popular YouTube videos that identify movie shots explicitly inspired by paintings. Cinephiles call this sort of shot a tableau vivant, or “living picture”—a live-action recreation of a still image. One of the most striking tableaux vivants appears in the prologue to Melancholia (2011), shot by Manuel Alberto Claro, and evokes Sir John Everett Millais’s Pre-Raphaelite masterwork Ophelia (1851–52).
The great art house filmmaker Michelangelo Antonioni hated when his peers talked about “writing a film.” He preferred the term “painting a film”—telling a story not with words, but colors, camera angles, and meticulously composed frames.
A woman is gliding around a grand piano reaching out a hand to tap on the keys and play some small melody that she might know. If we listen carefully we can hear the tapping of the keys and their reverberation. The woman wears an elegantly beautiful backless red dress. The balcony view is a sublime cityscape of the New York skyline. Skyscrapers light up the sky just like they might do in a movie scene. We wonder if the woman is also singing to herself as she plays on the piano. Is she at a dinner party wandering through the building, or visiting a handsome suitor, or is this her own abode? These questions are all left unanswered.
There are a few popular YouTube videos that identify movie shots explicitly inspired by paintings. Cinephiles call this sort of shot a tableau vivant, or “living picture”—a live-action recreation of a still image. One of the most striking tableaux vivants appears in the prologue to Melancholia (2011), shot by Manuel Alberto Claro, and evokes Sir John Everett Millais’s Pre-Raphaelite masterwork Ophelia (1851–52).
The great art house filmmaker Michelangelo Antonioni hated when his peers talked about “writing a film.” He preferred the term “painting a film”—telling a story not with words, but colors, camera angles, and meticulously composed frames.
Classic artwork
A Cotton Office In New Orleans by Edgar Degas was designed by the impressionist artist after visiting a cotton office in New Orleans that belonged to his brother. The painting combined genre and portraiture art and is a realistic portrayal of capitalism in the 18th century. The aim was to capture the lively, friendly, and successful American business style.
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Marked by lush brushwork yet icy gaze, Edouard Manet’s painting ignited both outrage and acclaim when exhibited in 1865 Paris. In portraying a confrontational nude courtesan attended by a black maid, Manet jettisoned High Art niceties. Instead, he adapted painterly Old Masters grandeur to brazen depictions of modern Parisian ennui and alienation. Outraged critics deemed Olympia’s unabashed nudity and in-your-face sexuality indecent.