A Formalist Critique of Justin Besana and his Poster for The Kingdom (2024)
- deskvalor
- Mar 25
- 3 min read
By: Slevin De Dios
Introduction
Justin Besana, a renowned Filipino graphic designer, is known for his compelling and visually rich film posters. His work for The Kingdom (2024), directed by Michael Tuviera, exemplifies his ability to communicate narrative depth through design. The Kingdom explores an alternate history where the Philippines remained a monarchy, presenting themes of power, freedom, and societal structures. This critique utilizes Formalist Criticism to analyze the poster’s structure, style, and composition, evaluating its effectiveness in conveying the film’s themes and engaging its audience.
Body
The poster for The Kingdom is visually striking, divided into two contrasting sections. The upper half, dominated
by a regal blue color palette, features a crowned Piolo Pascual seated on an ornate throne in an opulent palace. The lower half, inverted and bathed in golden hues, depicts a seemingly humble man standing in an open field at sunset. These elements are framed with intricate indigenous patterns, reinforcing the film’s Filipino cultural identity. The typography for the title, resembling ancient script and adorned with golden embellishments, further solidifies the film’s historical-fantasy theme.
The poster’s textual elements enhance its narrative depth. The upper text, "May mga haring walang
kapangyarihan" ("There are kings without power"), juxtaposed with the lower text, "Mayroon ding alipin na mas malaya pa sa karamihan" ("There are slaves freer than most"), suggests a thematic exploration of power dynamics and social hierarchies.
Critical Analysis
The poster visually encapsulates The Kingdom’s core themes: monarchy, freedom, and identity. The stark
contrast between the two halves symbolizes societal duality, royalty and commoners, oppression, and liberation. The use of indigenous patterns subtly references pre-colonial Filipino culture, reinforcing the film’s alternative history concept.
The symmetry and inversion technique are particularly effective. By placing the lower image upside down, the
poster challenges conventional perspectives, making viewers question the true nature of power and freedom. The color contrast, cool blues in the palace scene and warm golds in the rural setting, creates a visual distinction between the two worlds, enhancing the film’s narrative tension.
The title typography plays a crucial role in branding the film. The golden, textured lettering suggests prestige
and antiquity, aligning with the royal theme. However, its readability could be slightly improved, as the ornate details may obscure clarity, especially at smaller sizes.
Besana’s design choices effectively evoke curiosity and intrigue. The use of cultural motifs, color symbolism, and
visual hierarchy enhances the film’s storytelling before audiences even see the trailer. The inversion technique is a bold artistic choice, reinforcing the film’s message in a single, powerful visual.
While the composition is visually engaging, the poster’s complexity may make it less effective for quick
recognition in crowded advertising spaces. Additionally, the dual-tone aesthetic, while striking, might not immediately communicate the film’s genre to casual viewers unfamiliar with its premise.
Conclusion
Justin Besana’s poster for The Kingdom is a masterful blend of historical fantasy and socio-political commentary.
Through strategic composition, color contrast, and typography, it effectively conveys the film’s themes of power and identity. While its intricate details enhance artistic depth, slight refinements in text clarity and recognizability could further optimize its impact. Overall, the poster stands as a testament to the power of graphic design in shaping audience perceptions and expectations.
REFERENCES LIST
Filipino Art. (2025). Hungit: Imo-Ako-Iya.
Philippine News Agency. (2024, July 22). Poverty rate falls to 15.5% in 2023.
Who is poor? Here's how PSA classifies poverty among Filipinos. (2024, August 15). GMA News Online.
National Economic and Development Authority. (2024). Statement on the 2023 full-year poverty statistics.
Philippine Statistics Authority. (2024, August 15). 11 out of 18 regions recorded significant decreases in poverty incidence in 2023.
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