The Irishman is a 2019 epic gangster film directed and produced by Martin Scorsese, based on the 2004 book I Heard You Paint Houses. The film chronicles the life of Frank Sheeran, a WWII veteran and union truck driver who becomes both a top hit-man for the Bufalino crime family and a close friend of Teamster’s former president, Jimmy Hoffa. Now in his final years, he looks back on how much that life has truly costed him.

The Irishman's logo uses ITC Grouch in a stark red color, echoing the gangster films, time period and its aesthetics that preceded this movie. This logo is never actually used in the movie which in my opinion is a missed opportunity. It is paired with Netflix Sans and FF DIN in the poster.

Throughout its runtime, The Irishman uses freeze frames accompanied by a text card mainly for characters who play a small role and pass away outside of the movie. These text cards, as eerie as they are, use ITC Franklin Gothic Book and look classy doing so. It is also used for the end credits. The title sequence near the start uses Arial Black. I love Arial as much as the next guy but this is a very strange choice, especially since this is the only time the movie uses it.

Title sequence. “I Heard You Paint Houses” was also Scorsese’s preferred name for the movie; that’s why it appears in the beginning.

“Angelo Bruno – shot in the head sitting in his car outside his house, 1980”

“Joseph P. Kennedy, Sr. – died 1969 after a long illness”

End credits, which features the title once more.

Murina is a directorial feature debut by the Croatian director Antoneta Alamat Kusijanović:

The tense relationship between sixteen-year-old Julija and her authoritarian father Ante, begins to unravel when an old family friend arrives at their home on the island. While the father is preoccupied with attempts to strike the deal of his life, the charismatic guest offers Julija increasing freedom and stirs a sense of rebellion against her parents. Over the course of a weekend filled with high expectations, Julija draws her family into a dangerous whirlpool of passion and violence.

The visual identity of the film reinterprets the moray eel jaws emerging from the water, symbolising the forceful and strong behaviour of the teenage protagonist played by Gracija Filipović. The logo for the movie is a customized version of the typeface Ergon by Hrvoje Živčić, inspired by the style and heritage of the city of Dubrovnik and Neretva county — the area where Kusijanović grew up and roughly where the movie takes place. Alongside Ergon, the supporting typefaces again come from a Croatian designer — Nikola Djurek, namely Typonine Sans (incl. its condensed version). The humanistic and functional sans serif nicely contrasts the angular shapes of Ergon and balances the whole design.

From Wikipedia:

Cape Fear is a 1991 American psychological thriller film directed by Martin Scorsese. It is a remake of the 1962 film of the same title, which was based on the 1957 novel The Executioners by John D. MacDonald. The film stars Robert De Niro, Nick Nolte, Jessica Lange, Joe Don Baker, and Juliette Lewis. Robert Mitchum has a small role in the film, while Gregory Peck (in his final theatrical film role) and Martin Balsam make cameo appearances, all three having starred in the original film.

The film’s title and credits are set in Fault Line and occasionally paired with an oblique Helvetica Condensed.

Title sequence designed by Elaine & Saul Bass.

Read more about the title sequence on Art of the Title.

The opening title sequence for Martin Scorsese’s 1982 film The King of Comedy is built around the use of a perfect freeze-frame shot. This still that opens the film foreshadows the more sinister plotline.

Titles designed by Dan Perri use two contrasting typefaces: Gill Kayo and ITC Avant Garde Gothic. The lighter style of Avant Garde nicely complements the chunky Gill Kayo.

To promote and commemorate the release of Martin Scorsese's The Irishman, Netflix underwent a month-long activation across two cities. An 8-page broadsheet newspaper was produced, taking audiences back to August 1, 1975, the day after Teamster boss Jimmy Hoffa was reported missing to federal authorities.

At showings at New York's historic Belasco Theater, copies of The Irishman Daily were stocked in newspaper receptacles adorned with political stickers from the era. Next to those, interactive phone booths played clips from the film on a small screen when you picked up the receiver.

In the pages of The Irishman Daily, auxiliary stories fill out the world of Scorsese's decades-spanning epic. True crime drama sits among stories of the day, like the MTA increasing subway fare to 50 cents and the Yankees hiring the notorious Billy Martin. Arts and sports pages are filled out with classified listings, standings, and music charts. On the back, an ad paying homage to Frank Sheeran's chosen profession sits below a map guiding visitors to Netflix's Little Italy takeover promoting the film.

The design of the paper drew inspiration from the splashy, photo-heavy New York Daily News, while elements from the Brooklyn Daily Eagle, New York Times and Detroit Free Press influenced the denser interior layout. One anachronistic indulgence is Florian Karsten's Screamer, used only for the front page hammer head. Distressed Futura and ParaType’s SchoolBook round out the headline typography. The newspaper logo is an adaptation of the movie’s logo in all-caps ITC Grouch. Bushwick JNL is used for the word “FINAL” on the left side of the masthead.

Among the fonts used for the ads are Optima (Giovanni I. Russo), Akzidenz-Grotesk Condensed (Jimmy’s Last Stop) and Moret (St. Luke’s).

Corner Store JF, Main Feature JNL and SAA Series for the Secret Guide to Little Italy.

“Have you heard … WE PAINT HOUSES.” is in Rockwell Condensed, with Amboy for “CHEECH’S”.

The text typeface is Bookmania. The classified ads on the right are in Monotype Grotesque and Benton Sans Condensed. ITC Kabel and some Britannic are used for the Fair furriers ad. “Belasco” features Davida and Columbia Titling.

The Age of Innocence is a historical romantic drama film directed by Martin Scorsese, starring Daniel Day-Lewis, Michelle Pfeiffer, Winona Ryder and Miriam Margolyes.

The titles were designed by Elaine and Saul Bass. They are set in tightly spaced italics from Bauer Bodoni. The calligraphy in the background appears to be from George Bickham, or at least it’s similar in style, compare the digital Bickham Script which is based on his work. Read more about the sequence on Art of the Title.

Elaine and Saul Bass’ titles for Scorsese’s Casino use a typeface that closely resembles Washington by Russell Bean, and may be one of its phototype incarnations, perhaps with modifications (e.g. the ‘B’, ‘E’, ‘R’, and ampersand). The digital version of Washington, by Bean’s Type Associates foundry, differs in various ways from the phototype version – at least the one from Phil’s Photo, which can be seen at Bowfin’s ID guide.

This is some pretty unimaginative movie poster design. I would expect more from a Scorsese film. A bunch of unnecessary squooshing of FF DIN as well.