the batman – marketing recap

How Warner Bros. has sold the latest Bat-tastic caper.

The Batman movie poster
The Batman movie poster

After all the sturm und drang over the last few years over the Snyder-verse and how the various DC Comics-based movies are or aren’t connected, this week brings the kind of film we haven’t seen in about a decade: A solo adventure for Batman.

The Batman, the title of which represents the latest example of a trend where reboots, reimaginings and retakes simply at “The” before the name of the character or team to set it apart from a previous movie without it, stars Robert Pattinson in his debut as Bruce Wayne/Batman. Directed by Matt Reeves, the story is, surprisingly, not an origin of The Dark Knight but instead picks up when the vigilante is a couple years into his career as a crime-fighter. As such, he’s already developed a working relationship with Lieutenant James Gordon (Jeffrey Wright), one he will need as he investigates a crime wave perpetrated by someone referring to himself as The Riddler (Paul Dano).

Over the course of events, Batman will also come into contact with Gotham City crime boss Carmine Falcone (John Turturro) and Falcone’s lieutenant Oswald “Penguin” Cobblebott (Colin Farrell). He’ll also be helped – and occasionally hindered – by Selina Kyle (Zoë Kravitz), also known as Catwoman.

Pattinson is the third actor to play Batman in a live-action film in the last 15 years, not counting various animated incarnations, and as such represents DC Films’ recent “whatever” approach to connected universes that allows multiple versions of a character across media without being beholden to the same sort of restrictions found in the MCU and other franchises.

Arriving in theaters this weekend, let’s take a look at how this version of the 80+ year old character has been sold to the public.

announcement and casting

While it had been rumored for a while, Affleck was officially confirmed as the movie’s director at San Diego Comic-Con 2016.A tweet a few months later from Affleck showing what was reported to be test footage of the villain eventually lead to confirmation that Deathstroke was the bad guy Batman would be facing off against in the movie. Affleck later confirmed the movie’s title and talked briefly about why Deathstroke was chosen as the villain.

After months of rumors and reports, it was eventually officially announced that Affleck would *not* direct the movie but would continue on as producer and star.

Matt Reeves, who was later announced as the director, was asked repeatedly about this movie while he was promoting War For The Planet Of The Apes, remarking how he was trying to bring a noir-like feel to Batman. He talked more about it, hitting similar topics, while promoting “The Passage.”

In early 2019 WB finally gave the movie a release date while at the same time it was confirmed Affleck was not going to be the one playing the title character as it was reported the story would focus on a younger version of Bruce Wayne. Affleck commented on stepping down from the role while promoting Triple Frontier in early 2019.

A couple months later, in mid-May, reports circulated that Pattinson was the top contender for the role, news that sparked either joy or outrage among fans online depending on their overall perception of the actor. The process of casting Pattinson was unusually smooth and brought about because Reeves’ story was set early in Batman’s career, requiring a younger actor.

While the movie wasn’t part of WB/DC’s 2019 San Diego Comic-Con promotional push – the studio largely sat out the convention – a panel generally related to music in super hero films included fan exhortations directed at Reeves about not screwing up the project and character. It was somewhat surprising WB/DC didn’t make an exception to their SDCC absence given the event hosted multiple celebrations of the 80th anniversary of Batman’s debut in comics, celebrations that included costumes from Christopher Nolan’s Dark Knight trilogy, a screening of Tim Burton’s 1989 film and Batman’s induction into the Comic-Con Hall of Fame.

Pattinson spoke briefly about the movie while he was making the festival rounds in 2019, with former Batman Christian Bale offering some costuming advice based on his own experiences.

the marketing begins

The first official promotional activity for the film came in December 2019 when Reeves sent a video message to attendees of CCXP promising he and the cast would be there in person in 2020 to show off footage and talk more about the movie they were making.

In January of 2020 Reeves announced the beginning of production while WB revealed the full cast list.

A short while later in February Reeves offered fans their first real look at Pattinson in costume, releasing a “camera test” showing Batman slowing approaching the camera and coming more into focus the closer he gets. Then in early March he shared a first official look at the new, more conventional Batmobile.

Later on, Pattinson promised to bring his same eccentric style to this role that he’s brought to others, revealing later he received the official word of his casting just as he was starting work on Christopher Nolan’s Tenet. Serkis was also interviewed during the movie’s production shutdown about how he was approaching the role of Alfred, as was Wright about playing Gordon.

While she was promoting her new Hulu show in early 2020 Kravitz dropped some hints as to what people could expect from her take on Catwoman. She kept talking about it throughout that publicity cycle.

The movie was one of many to have its production put on hiatus because of the Covid-19 outbreak. Later on WB rescheduled its release from May to October as a result. Production restarted in August of 2020, but with the change that most of the shooting would happen on a closed set instead of outdoors. That new phase didn’t last long, as only a short while later Pattinson himself was reported to have been diagnosed with Covid-19, putting a halt on any aspect of production including him.

In July 2020, Reeves announced a spinoff series for HBO Max set in the same world as the movie but focusing on the Gotham PD, with Warner Bros. promising the show would expand on the stories and ideas established in the film.

dc fandome 2020 – the marketing begins

Both Reeves and Pattinson were listed among the talent making a virtual appearance at DC’s “Fandome” event in August, 2020, fueling speculation a more substantial first look might be revealed to those following along from home. Just before that, Reeves shared a look at the movie’s title treatment. During Fandome, the director praised his cast while also revealing that the corrupt nature of Gotham City would be explored in the HBO Max series, which he clarified is set in “year one” of Batman’s career while the movie takes place in “year two.” That event is also where the first teaser trailer debuted.

In August 2020, just days before the DC Fandome virtual event, Reeves shared a Fandome-specific teaser poster designed by DC publisher Jim Lee.

The first teaser (36.9m YouTube views) trailer debuted during DC Fandome in August of last year and, considering the reports that the film was only ~25 percent complete, is surprisingly robust. It shows that things are getting very dark in Gotham, with a string of murders accompanied by riddles intended for The Batman, who is already an accepted partner of the GCPD and Commissioner Gordon. There are also looks at Catwoman, an unexplained Joker gang and lots more.

Fans online quickly worked out the answer to one of the riddles presented in the trailer, finding that the answer to “What does a liar do when he’s dead?” is “He lies still.”

That trailer’s use of “Something In The Way” by Nirvana helped that nearly-30 year old song jump back to the top of the charts on both iTunes and YouTube.

In September 2020 an exclusive bit of artwork was released to celebrate that year’s Batman Day.

spinoffs and other interim publicity

“Batman: Caped Crusader”, an animated series produced by Reeves along with Bruce Timm (of “Batman: The Animated Series” fame) and J.J. Abrams was announced in May 2021, but despite Reeves’ involvement it didn’t appear the series is tied to the movie in any way.

Those and other pandemic-related production delays were cited as the reasons behind a later delay to March, 2022.

There were a few shots from the movie, along with comments from Kravitz and Reeves, in a Catwoman documentary Warner Bros. shared on YouTube in May 2021.

Farrell talked about the movie when he appeared on “Kimmel” in July of last year.

A profile of Affleck included his comments on how the advice of a friend helped convince him to drop out of this project.

the marketing returns: dc fandome 2021 and more

In August 2021 this was among the movies WB showed off to exhibitors and others attending CinemaCon. A new trailer was promised for that year’s installment of DC Fandome, followed by the announcement another HBO Max series, this one focused on The Penguin, was in early development.

Kravitz was interviewed about how she approached her audition with Reeves and how it ultimately led to her getting the role of Catwoman.

Ahead of Fandome 2021 Reeves shared a photo of Batman looking out over Gotham and another of Kravitz as Catwoman. Two posters – one featuring Batman and one with Riddler – also came out just before Fandome.

As the trailer (42.6m YouTube views) released during Fandome opens, the Gotham PD is storming a diner to arrest Riddler. From there we see Batman as he goes about trying to track down the villain and figure out his plans, a process that involves lots of punching of henchmen and other violence. There’s quite a bit of screentime devoted to Catwoman along with introductory shots of Alfred, Comm. Gordon and Penguin, the latter of whom is, at the end of the trailer, surprised at the resilience of the very muscle-car looking Batmobile.

A cutdown version of that trailer was released right after the virtual event as the first TV spot in the campaign.

News came in December that Farrell was slated to continue playing Penguin in an HBO Max spinoff series focusing on his character’s rise to power before the events of the movie.

Rumors circulated for a while that Warner Bros. was testing two different versions of the movie, one with an ending that includes Joker and which would setup a sequel.

Another interview with Kravitz had her talking more about the training she engaged in to play Catwoman. At the same time, Pattinson talked about how he had an idea of where Bruce/Batman would go over two additional movies and that he’s open to making it a trilogy. Reeves also made it clear this movie was not set in the loosely-defined DC Extended Universe but was a standalone story not connected to the Multiverse being established in other projects. All those were part of an Empire Magazine cover story devoted to the film.

A new trailer came out at the end of December. Titled “The Bat and The Cat”,(26.2m YouTube views) it opens by juxtaposing Bruce Wayne being chastised for not continuing his family’s philanthropy with shots of him as Batman chasing villains through the city. From there it focuses on how Catwoman and Batman have to navigate their…complicated…dynamic to team up and try and save Gotham from the scourge of The Riddler and other threats.

the marketing forever: into 2022

Twitter Movies debuted two exclusive posters in mid-January. One shows an extreme closeup of Batman’s face with the words “Unmask the truth” at the top while the other has Batman and Catwoman standing on top of a building looking out over Gotham City.

Another poster came out a couple weeks later that sports the same tagline but features most of the main characters, both good and bad guys.

In an interview with Reeves, the director talked about the stories – both Batman and otherwise – that inspired the story and the visuals of the movie, while members of the cast praised Reeves’ exacting nature and his approach to filming. Another profile of Reeves had him offering all kinds of details about the production, including Pattinson’s makeup, the original script from Affleck and lots more.

Little Caesars Pizza teased their tie-in food offering, the Batman Calzony, at the end of January.

TV spots picked up around that time, including this commercial that distills the recent trailer down to its core elements, showing the conflict between Bruce Wayne and Batman along with hinting at some of the other elements of the story.

After a scene from the movie leaked online Reeves released it himself, followed shortly by WB. It shows Bruce arriving at a funeral and alternatively being berated for his lack of public philanthropy, eavesdropping on a police conversation before Riddler interrupts the service with a message to the Batman.

Riddler, Penguin and Catwoman are all featured on a series of character posters released at the beginning of February.

Batman-branded Oreos packaging, unveiled at that time, contained cookies that were stamped with the hero’s image. That packaging also featured a QR code that, when scanned, entered someone for a chance to win a trip to London for an immersive Batman experience.

DC announced all of the Batman titles released in March would sport movie-inspired variant covers.

Tickets for early IMAX screenings of the movie, scheduled for March 1st, went on sale around the same time.

Pattinson got the feature profile treatment, with the story focusing on how his career has evolved over the years to the point where he’s taking on more complex roles as he tries to shed the emo-heartthrob image he was pegged with for a while. Kravitz got a similar profile that also touched on how she fits into the legacy of the other actors who have portrayed Catwoman on screen.

IMAX and Dolby-exclusive posters used profiles of Batman as their central feature, varying in how close the camera is to the figure.

Both Pattinson and Kravitz were featured on the cover of EW in a package that had them talking about working with each other, becoming part of the Batman history and more. There were also interviews with Dano about creating a truly creepy version of Riddler and more.

An exclusive behind-the-scenes featurette was released by Little Caesars that had Pattinson and others talking about the story as well as the scope of the story.

Reeves joined Kravitz and Pattinson in Paris for a promotional stop over there. More of the cast joined them for a special screening in London a bit later.

Wright promoted the movie when he appeared on “GMA,” having previously stopped by “The Late Show.” Serkis also talked about becoming Alfred on “GMA” while Pattinson shared the tips he’d gotten from other super hero actors on “Kimmel.” Dano later talked about the movie on “The Tonight Show.”

Google introduced a special feature where people searching for “bruce wayne” were delivered results for “batman” and shown an animated Batsignal highlighting those results.

There’s been a plethora of coverage of the various branded consumer products that have been released recently to tie in with the movie, but this is really only a slight uptick when put in the context of the usual massive amounts of Batman merchandise that’s readily available.

Another profile of Reeves focused on how the director worked to find a personal and emotional connection to the character before agreeing to take on the project. Meanwhile an interview with Kravitz had her saying she approached the character as bisexual, something that may or may not be explicity in the movie but which definitely got people’s attention. A THR cover story of Dano had him talking more about joining the super hero world and how that does or doesn’t fit in with his career to date.

Most of the cast and crew came out for the red carpet world premiere in New York City earlier this week. Unfortunately Reeves had to sit the event out due to being diagnosed with Covid-19.

AMC Theaters offered an exclusive interview with Reeves. That came days after AMC revealed this movie would be subject to “variable pricing” wherein tickets to this film will be priced higher than those for other movies showing at the same time. This is a major departure for U.S. theaters and it remains to be seen how audiences will react to those tickets being $1.50 more expensive than they’re used to.

overall

It needs to be pointed out that nowhere in the marketing is the movie’s nearly 3-hour runtime explicitly mentioned, despite this being important information for the audience to have.

One has to wonder whether the reality of that will have any impact on the $100 million opening weekend that’s projected for the movie.

The 86% Fresh rating The Batman has on Rotten Tomatoes, though, indicates mostly positive reception for the film so far, and it may be that audiences are willing to hold it for three hours in order to get back to the theater again and reinforce the narrative that only super hero and other franchises can actually survive at the box office.

Aside from that…this certainly looks like a Batman movie. It hits slightly different beats than have been seen in the campaigns for the other Batman movies that have come out but also seems utterly familiar, which is the whole point of IP franchises like this. There’s some good stuff in here, especially when the focus is on Kravitz and Pattinson, but mostly it comes down to whether you enjoy the character or not.

At least, according to Reeves, the movie does *not* feature those damn pearls falling. That’s a win and might be the strongest point of differentiation between this and previous incarnations.

Ava – Marketing Recap

How Vertical Entertainment is selling another hyper-efficient assassin drama.

There are a great many movies that should have gotten sequels but didn’t, for any of a variety of reasons. One of those is Salt, the Angelina Jolie spy action drama that was about as tight and well-constructed as they come.

This week’s Ava comes close to filling the gap left by the lack of a Salt sequel. Jessica Chastain stars as the title character, a highly-skilled assassin who has worked for years for a black-ops government agency. When an assignment goes wrong she finds herself on the run and struggling just to survive. That flight includes visits to the family she ran away from almost a decade earlier. At the same time she has to find out who it is that sold her out and now wants her dead.

The movie costars Geena Davis, Colin Farrell, John Malkovich, Common, Jess Wexler and others. Reception so far has not been great, with a paltry 25 percent “Rotten” on Rotten Tomatoes. Vertical’s campaign has been heavy on action and light on story, as we’ll see below.

The Posters

In June the first and only domestic poster (by marketing agency Ignition) came out. It shows Ava looking glamorous but deadly, wearing a lovely evening dress and fully made up while also holding a gun and with a bloody gash on her cheek. The title treatment uses a bullseye to communicate the idea she’s an assassin, with the copy below it hinting at the danger by saying “Kill. Or be killed.

The Trailers

The first trailer (371,000 views on YouTube) came out in late June, quickly introducing us to Ava and her lethal skillset. Her abilities are being questioned by some, though, and she becomes a target herself. While her mentor wants to protect her, others want her dead and she has to call on all her abilities and training to get through each day. What we see here promises lots of close-up action and violence with a great cast, making it look more than a little attractive and interesting.

Online and Social

There doesn’t appear to have been a website created for the movie and it received limited support on Vertical’s social brand profiles.

Advertising and Promotions

Chastain posted a fun little video on social media showing her fight training with Farrell, joking about how they never seem to get along on film.

A clip came out recently showing just how deadly Ava is

Media and Press

There had been a bit of controversy around director Matthew Newton regarding past accusations of assault the ultimately led to him being removed from the project. It wasn’t until a while later that a first look photo was released.

Overall

Salt, of course, isn’t the only movie this one can be compared to. There’s more than a little John Wick in here as well, and there have been others that have tried to play in the same space.

This film’s biggest differentiator is Chastain in the lead role, but based on what is laid out above it looks like no one’s heart was really in it. The whole campaign is rather lackluster, not trying very hard to raise a standard action flick to any substantial level. It’s a shame since it’s not a bad premise, and the addition of a life Ava left behind is intriguing. As it is the marketing sells a slick but unexceptional movie.

Artemis Fowl – Marketing Recap

How Disney is selling its latest potential franchise artemis fowl poster 2starter.

When Disney greenlit Artemis Fowl, a movie adaptation of the hit 2001 novel, it likely had aspirations of it starting a whole new Harry Potter-esque franchise that would diversify the studio’s top-tier brands outside of Star Wars, Marvel and Pixar. The company’s massive marketing machine could come around the movie and propel it to box-office success, opening the door for sequels covering the rest of the books in the series.

Those hopes might still be in place but the scale might be reduced a bit as the Covid-19 shutdown of the last few months means Artemis Fowl is debuting not on theaters but on Disney+.

The story is focused on the young Artemis Jr. (Ferdia Shaw), the latest in a long line of criminal masterminds who is being groomed by his father Artemis Sr. (Colin Farrell) to one day take over the family business. When Sr. goes missing, Jr. sets out to find him and discovers the job entails more working and dealing with fairies, trolls and other magical creatures than he anticipated. Artemis has to navigate dangers he never imagined with the help of a few trusted allies.

Despite the change in release platform, Disney’s campaign for the movie – directed by Kenneth Branagh – still clearly has the goal of starting a franchise of films that can work for years and span stories.

The Posters

artemis fowl poster

It’s “Time to believe” according to the first teaser poster (by marketing agency LA) released in November of last year. Below that copy we see Artemis’ face, mostly hidden in the shadows of blue and green lighting, with some kind of strange language reflected in the lenses of his large glasses. It nicely hints at his intelligence as well as the mysteries he’ll be uncovering.

The second poster (by marketing agency BLT Communications) came out in March and still reflects the targeted theatrical release date. For the imagery it pulls the camera back for a design that’s very familiar for the “franchise film with a star-studded cast and lots of effects” genre. The supporting characters are arranged around Artemis and a handful of locations are hinted at while in the background a huge vortex is opening that is clearly supernatural and represents the kind of dangerous journey our young adventurer will be embarking on.

An updated version of that poster was released in April to highlight the new Disney+ release strategy and date.

The Trailers

The teaser trailer (6.2 million views on YouTube), released in November, sells a magical journey for young people. A raspy narrator talks about why they were driven underground to avoid the humans as we see a decrepit mansion followed by some sort of incredible city filled with floating vehicles and more. Along with that there’s adventure, archery and more as the dangers Fowl faces become evident.

This isn’t about the father, we’re told as the second trailer (4.6 million views on YouTube) from March opens, it’s about Artemis, the son. He’s grown strong, but when his father disappears Artemis learns his father may not have been the good man he believed him to be. He sets out to find him and learns the truth is more complicated, that his father was also protecting the world, and so enlists allies as he dives into a world filled with magical creatures and amazing adventures.

Online and Social

As has become the norm, the movie’s website is kind of a disappointment, featuring only the barest of information on the story along with the trailer, some photos and not much else.

Advertising and Cross-Promotions

On St. Patrick’s Day an “Irish Blessing” video was released showing off the action and adventure the movie had to offer. Around the same time came a featurette that had Branagh and others talking about how they approached the story and brought the books to life on the screen.

In the midst of shifting release dates for a handful of movies in the wake of the Covid-19 pandemic and the closure of theaters Disney made the surprising announcement, accompanied by a short promo, that the film would debut exclusively on Disney+.

A “Special Look” came out shortly after that emphasizing the special gear Artemis uses for his rescue mission as well as the friends he enlists for his quest.

Artemis is looking for clues that will lead him to his father’s secrets in the first clip released by Disney in mid-May.

Later that month the first TV spot ran making sure audiences understood this was an epic fantasy adventure they’d be able to stream on Disney+.

Media and Publicity

A first look at Dench and other parts of the movie was part of EW’s 2019 preview issue late last year.

Eoin Colfer, the author of the source book, appeared on “Good Morning, America” in late May to talk about seeing his work come to life and being involved in that process.

Colfer, along with costar Lara McDonnell, did a virtual panel for Book Con to touch on similar subject matter.

Overall

The promotional efforts on display here are quite good, setting a solid tone for the audience and selling a story filled with adventure and mystery. That’s a good message to send as it makes lots of promises that the movie can eventually deliver on.

Of particular note here are the trailers and the advertising elements, which are able to show off the spectacle of the movie. The lack of substantive publicity and press efforts are a bit surprising, though given the turmoil washing through the media world it might be that there are simply no more outlets to interview talent.

What’s most capturing my interest, though, is that unlike many of the movies that have gone straight to streaming or VOD recently, this is a big, live-action flick that, as mentioned before, is clearly intended to kick off a cinematic series. It’s one thing for an animated feature, of which there are plenty for all platforms, as well as for low-budget indies and rom-coms.

So the campaign here is a good one, but it’s selling something that has been almost exclusively a theatrical experience. There’s little doubt it will still be popular on Disney+, but it might not be the kind of streaming experience people are looking for.

Picking Up the Spare

The troubled road the movie took during development is covered here, making it seem as if the final version was always destined to be written off as quickly as possible. 

A series of seven character posters came out just as the movie was hitting Disney+. There was also a new short video promo to mark its availability. 

Branagh was interviewed about the making of the film and the process of finishing it during quarantine. 
The main characters were introduced again in a new featurette.

The Killing of a Sacred Deer – Marketing Recap

After winning widespread acclaim for The Lobster two years ago, writer/director Yorgos Lanthimos is back with The Killing of a Sacred Deer. The movie reteams him with star Colin Farrell, who here plays Dr. Steven Murphy, a successful surgeon who leads a comfortable, respectable and luxurious life with his wife Anna (Nicole Kidman) and their two teenage children.

Steven has, unbeknownst to most everyone, taken a teenage boy named Martin (Barry Keoghan) under his wing. That turns out to be a poor decision as Martin’s behavior becomes increasingly erratic and dangerous. Not only does he threaten to expose a secret of Steven’s from long in the past but he also makes it clear he’s a danger to the whole family.

The Posters

Farrell stands alone in an absurdly tall hospital room on the first poster, facing two empty beds as if pondering the people who are no longer in them. There’s no other copy aside from the title and credits and nothing to provide additional story context, so it’s just about selling a unique look and feel here.

The second poster features an upside down image of Martin, a photo of Steven and Anna appearing inside the outline of Martin’s picture. That’s meant to convey how the two parties have become intertwined, the fact that Martin’s photo is upside down adding to the sense of disorientation in the audience.

The Trailers

There’s no clear story in the first trailer, instead it’s more focused on setting up some sort of medical mystery and family drama. Somehow a young girl winds up not able to move and that has an impact on the rest of her family as well as the surgeon who has handled her case. What else is happening isn’t apparent, other than that there will be both psychological and physical torture going on.

A second short trailer has Martin coming to the house of Anna and the rest of the family. Martin makes cryptic, threatening comments to Steven about his family and how they’re all going to get sick and die. There’s a connection between the two that’s not great and which is going to have an impact on everyone around Steven and Anna.

Online and Social

There isn’t a whole lot going on at A24’s official website for the movie. There’s a prompt to play the trailer and one to get tickets. Toward the bottom are links to the movie’s Facebook, Instagram and Twitter profiles.

The primary feature is “Doctor What’s Wrong With Me?” That takes you to a stand-alone website that lets you diagnose what might be wrong with you by pointing and clicking on different parts of an anatomy. All the answers, of course, are more emotional and mental than physical. There’s also a test you can take that seems designed to test your empathy and attitude toward the harsh realities of life.

It’s very similar to the site launched in conjunction with The Lobster, which was designed to see what animal you should be when you fail to find a mate.

Advertising and Cross-Promotions

Nothing on this front that I’ve been exposed to. There may have been some ads in the real world and online that were targeted at the movie’s initial release markets, but I’m not aware of them.

Media and Publicity

The movie was one of the handful that had its premiere at this year’s Cannes International Film Festival. It was later also added to the Fantastic Fest schedule.

The movie was one of a few Kidman appeared in at the festival, leading to a narrative in the press about the actress’s resurgence and her work ethic. Later on Silverstone talked about how she got involved with the film and what it was like shooting with Farrell.

This marking their second collaboration, there was a joint interview with Farrell and Lanthimos where they talked about how they began working together, what they enjoy about the process and lots more.

Overall

Anyone who wasn’t already a fan of Lanthimos’ previous work, including those who first discovered him through 2015’s The Lobster, isn’t going to find a lot to latch onto with this campaign. There’s no, or little, sense of the story or character offered anywhere in the marketing that A24 has offered for this new movie. Anyone who saw the trailer in front of something more mainstream likely came away confused and uninterested. It’s inaccessible, providing no easy jumping on point for the uninitiated.

For those a bit savvier and already in tune with what the filmmaker is doing, though, it offers a wealth of good stuff. The efforts shows the visual richness of Lanthimos’ style and the complex moral territory his stories frequently tread into. The publicity push hasn’t been all that substantial, but that’s a small criticism for an overall campaign that’s consistent from one element to the next and knows just what will bring in the kind of audience it’s hoping to find.

Chris Thilk is a freelance writer and content strategist who lives in the Chicago suburbs.