The Czech poster school turned state film distribution into a laboratory for surrealism. Working in offset litho behind the Iron Curtain, Ziegler, Vyleťal, Vaca and Teissig answered every film with photomontage, cut-and-paste juxtaposition and brutal negative space — conceptual, never literal.

Read here in its darkest Ziegler register: ink-black field, a single poster red cutting across it, torn photographic fragments and oversized condensed lettering. The restraint of palette is the point — red on black on bone-white paper, nothing decorative wasted.