In looking at these posters, I found myself enjoying some and quickly scrolling past others. Certain posters seemed to really resonate with me on levels of aesthetic pleasure, cleverness, effective simplicity, and others. In trying to determine where the dividing line lay, I realized it had a lot to do with which movies I had seen. I appreciated the minimalism when I knew the subject matter that had been simplified. This realization led me to two further questions: (1) Does minimalism only succeed when the user is aware of what has been simplified? Does it have its own inherent aesthetic value other than being less than? AND (2) How much information does a movie poster really need to communicate? I haven’t yet arrived at concrete answers for either of these questions, but the first one does help me to remember that no design exists in a vacuum – everything is instead relative. Knowing the predecessors to any movement in design is essential to renovating and reinventing that same movement, because consumers are aware of that history as well, either consciously or subconsciously.