Götz Valien is recognized as the last film poster artist in Berlin, having crafted hand-drawn film advertisements for over 30 years. These posters, often displayed in the city’s cherished historic cinemas, embody a unique pop art aesthetic infused with a delightful sense of imperfection. Valien, now 65 and originally from Austria, notes the human element in his work, saying, “Advertising is about getting attention, and I add a human touch, and that’s why it works.” His pieces, which capture unforgettable characters and iconic moments, showcase his lightheartedness as he affectionately refers to himself as Kinosauru—connecting his craft to a more whimsical side of cinema.
His large canvas work once brightened the grand “cinema palaces” like the Delphi in West Berlin and the striking Kino International in the east. Unfortunately, many of these cinemas have transitioned to digital ads, while some, like the historic venues, have shut down. The last remaining cinema using his artwork is the Century Cinema Theatre Am Friedrichshain (FAF), where Valien’s vibrant posters adorn both the exterior and interior.
Manager Andreas Tölle of FAF remarks on the significance of these posters to the local community. “Now people come when something new happens and they take a photo,” he states. “And that charm draws people to the cinema.” Film posters have been integral to the movie industry for nearly 130 years, but Professors like Patrick Wresler argue that economic pressures mean many independent cinemas can no longer afford custom art.
Valien reflects on his journey, having arrived in West Berlin in the 1980s, not overly impressed by the eastern part of the city when the wall fell. He found it “sad and colourless” and realized he missed the vibrant billboards of the west. He feels the avant-garde has strayed from its roots and has returned to the painting techniques he learned in Vienna, leaning on traditions from the past.
Beginning in the early 1990s with an advertising company—the last of its kind in Berlin—Valien quickly made a name for himself; his first project was for Steven Spielberg’s Hook. He became a highly sought-after artist, recalling that after two colleagues passed away, he found himself the sole survivor of this traditional craft in the city.
He remembers the fairytale-like moments when he could ride through districts that are now filled with brand shops. “Now they’re H&Ms, Zara, and Tommy Hilfiger,” he noted with a hint of nostalgia. His business faced challenges, especially after the release of Titanic in 1997, which dominated cinemas for months and limited opportunities for fresh releases requiring new posters.
Recently, Valien had to downsize his studio, citing a drop in demand for his work. He describes the painstaking process of creating these large posters, likening it to “running barefoot down Mount Everest,” pointing to the exhaustion that comes with the commitment to his craft. Over the years, he estimates he has made around 3,000 posters using a mix of acrylic paints and various tools in his workshop.
Despite the challenges, Valien doesn’t dwell too much on the past. He often reuses canvases to save costs, and although he maintains an active presence on social media, he focuses on this labor of love rather than commercial success. In homage to his contributions, FAF plans a special screening event celebrating Valien’s artwork, pairing films like Walk the Line, Little Miss Sunshine, and others with displays of his most memorable posters, underlining the vibrant legacy he has created.
