From now on, travelers arriving by train in Alicante will find a new point of interest at the station itself. Adif has opened a compelling presentation of the Alicante Film Festival posters, a collection that captures nearly twenty years of creative work. The exhibition marks a milestone for a festival that began with modest ambitions and has grown into a notable cultural event, celebrated this week as the festival enters its twentieth edition.
The exhibition showcases proposals from the very first poster created by Eusebio Barrosountil the film he produced this year, highlighting a period when the festival focused on short films that fit within a single weekend. The display also features color and design work by Javi Kreso, alongside posters designed by Eusebio Monzó, Arnau Gómez, David Castellanos, Raúl Ariño, Antonio Pontí, Alfredo León, Aitor Errazquin, Miguel Molina, Antonio Piñero, and collaborations with design agencies such as Crehaz, Casanova Agency, and Utopicum. These works illustrate the evolution of festival branding and poster art over two decades, reflecting shifts in style, technique, and visual storytelling.
A closer look at the exhibition reveals how graphic design has evolved in tandem with the festival’s programming. Each poster not only promotes a film program but also communicates the mood and expectations of audiences across generations. As the works hang in a public space, they invite visitors to trace the history of a regional cinema scene that continues to grow and attract attention from both locals and visitors.
The festival is preparing to celebrate its twentieth edition, which will take place from 3 to 10 June in Alicante. The project coordinators and management expressed gratitude for the cooperation of Adif, agreeing that the station itself can function as a vibrant showcase for festival promotion. Joan Andrés Sánchez, president of Alicante Region Stations, conveyed his pleasure in hosting the exhibition, emphasizing ongoing support for the festival and its role in enriching the cultural landscape of the region. The station venue offers a dynamic backdrop that connects travel with cinema, turning a routine transit space into a temporary gallery where public art and community events intersect. The curatorial team notes that the selection highlights both continuity and renewal in design language, with recurring motifs echoing festival themes while new voices bring fresh energy to the campaign.
Visitors will discover how design choices from year to year reflect broader trends in graphic arts, including typography, color theory, and composition. The posters serve as a visual archive, telling stories about filmmakers, collaborations, and the evolving relationship between cinema and commerce in the local economy. The aim is not only to advertise screenings but to create an immersive experience that resonates with audiences long after they leave the station. In this spirit, the organizers encourage audiences to engage with the posters as part of Alicante’s living cultural narrative, a reminder that art can travel as reliably as trains do and leave an imprint on everyday life.
The station’s role as a gallery underscores a growing trend in cultural events to utilize public infrastructure as a platform for artistic exchange. This approach increases accessibility, inviting a broader cross-section of society to encounter contemporary graphic design and film heritage in a familiar, everyday setting. The festival’s twelfth year of poster art is presented with care, presenting a curated arc that honors the past while inviting new interpretations from current designers. By situating the posters in a transit hub, the festival creates a dialogue between movement, memory, and imagination, inviting audiences to pause, reflect, and discuss the visual language that accompanies the cinematic experience.