Artists submitted their posters to a panel of established designers who reviewed them. According to Zuzanna Lipinska, a poster designer in the 1970s, the panel occasionally rejected designs outright while granting others a distinction, which earned the artist a higher fee.
Poster artist Waldemar Swierzy sums up why the chosen designs were often so striking and stood out so markedly: ‘The poster is looked at in the passing, in the rain, in winter at the bus stop, in the crowd, so it must be only a signal, suggestive character for the passer-by to register’. They were more a commentary on a film than a straightforward advertisement to entice the public to go see it.The creativity of Polish posters is why collectors still prize them today and examples are plentiful online.
While designers like Andrea Austoni (in his article The Legacy of Polish Poster Design) argue that the Polish poster school heyday was the 1950s and 60s, the above designs for 1970s Australian films Wake in Fright (1971) and Picnic at Hanging Rock (1975) are certainly distinctive compared to their Australian poster counterparts.
You can read more about the design process, and access an online database with more artworks, at Classic Polish film posters.