Inspired by gorgeous photographs posted to a popular social media website, one designer has reversed the normal narrative of movie marketing, creating publicity posters for speculative films, their scripts yet unwritten.

This dedicated redditor goes by Your_Post_As_A_Movie (YPAAM) and has made over 800 such creations to date, each one complete with titles, taglines, casts and credits, not to mention topic-appropriate typographies.

The genre-spanning array is inspiring, featuring action films, romantic comedies, environmental documentaries, science fictions and far-out fantasies.

Some of these picks are inspired by comments left by other redditors, cueing a possible direction or tagline from which the rest of the artistic adaption evolves.

Meanwhile, the identity of the anonymous creator remains an intentional mystery, but his fans seem pleased to leave it that way, as long as the creative work keeps on showing up from his account.

Everyone knows that actually reading a “terms of service” agreement is rarely (if ever) done by consumers using large digital platforms, but there is something powerful about seeing just how overwhelming this task is in print.

Artist Dima Yarovinsky installed a series of these covering Facebook, Snapchat, Instagram and Tinder on normal-width rolls of paper, creating infographics to display at the Bezalel Academy of Arts and Design.

Titled simply “I AGREE,” the resulting sheets are so long that, even hung up high toward the ceiling, they roll off the wall and onto the floor below.

Per Dima: the average person reads at a rate of 200 words per minute and the average terms-of-service features close to 12,000 words, meaning they would take about an hour to read (assuming the reader didn’t stumble on all the obscure legalese).

By setting it in a standard font in physical space, it becomes much easier to see just how long these agreements are, and what corporations are forcing on those who would use their services.

What may look like a harmless pothole or random remainder of grass takes on a different meaning when viewed from the perspective of the ultra-small, becoming dangerous sinkholes or inviting plots of land for sale, respectively.

Michael Pederson crafts signage for just such a miniature reality, helping form orderly lines for anyone heading into a small hole in the wall, or suggesting a certain hiding space may not be as welcoming as it looks.

One can imagine tiny creatures of myth and fantasy, or simply everyday little urban animals, installing such signs to variously warn, invite, notify and sell at a scale that most of us overlook on an everyday basis.

For full-sized human observers, the signs can provide small insights into the world around us, reminding people how long, for instance, a given weed has managed to struggle and grow out of an unassuming crack in the pavement (via Colossal).

Abstracting views of the city, this huge installation uses computer algorithms to deform local everyday footage on a massive 14-by-23-foot display canvas.

Ordinary wall art can get old, especially when one passes it every day. In this case, hours of film can become thousands of unique compositions, slowly deconstructed into impressionist-worthy pieces on the screen.

ESI Design developed this trippy solution for the lobby of 515 North State Street in Chicago, a structure design by Pritzker Prize–winning Japanese architect Kenzo Tange built back in the 1990s.

As a contextual work,  it features shots of the Chicago River, city trains and waterfront amusements, all devolving dynamically. The designers created the logic and intent, but don’t actually shape the outcomes — this is done programmatically.

“Custom software analyzes each video for moving objects, so moments like a person walking, or a car driving become the ‘brushstrokes’ that slowly create each abstraction. As each video collides with the next, new compositions unfold in real time, literally creating thousands of possibilities.”

Meanwhile, the “display itself uses LED modules that are covered with a layer of vinyl diffusion, removing the harsh digital glare of bare diodes and giving the imagery a soft material quality instead. The entire display is framed with a painted metal molding, with the intention of referencing traditional canvas paintings.” Except even more so than paintings in galleries, each experience of this work is one-of-a-kind.

His photographic manipulations are uncanny, creating bizarre effects and optical illusions, all while remaining highly realistic and (perhaps most impressively) quite true to the original real-life source material.

By working from actual photographs, Erik Johansson manages to capture but subvert everyday built environments. Take Under the Corner, for instance, a photo montage he worked on for months.”I shot all the buildings in Prague,” he explains, and “combined the photos using Photoshop. No CGI or illustrated elements.”

He also spent a long time with one of his latest works, Self Supporting, which he says was an “idea I’ve been carrying with me for a long time. I find the structural properties of an arch interesting, where each part is supporting the other. If you remove one it will all collapse but as long as the structure is untouched it will remain strong.”

The landscape for Self Supporting was shot in Bohemian Switzerland in the Czech Republic and the houses were photographed in Prague and Stockholm. One of the constituent structures is shown above. “The sketches start very simple but over time become more detailed.” He sometimes uses SketchUp to model his ideas, but says they also get reshaped by the source material he photographs.

Full Moon Service is about as surreal as the come, but there is a surprising amount of reality baked in per the behind-the-scenes video above. “I brought out 7 rice lamps, 7 light bulbs, an electric generator, a car and two models out in a field” in Sweden, recalls Johansson. It still required some magic, though. “The main part that has been retouched in this photo is to replace the rice ball with a moon texture, the light and the mood was very close to what you see in the photo.”

More from the artist’s website: “Erik Johansson (born 1985) is a photographer and image creator from Sweden based in Prague, Czech Republic. His work can be described as surreal scenes created by combining different photographs. Erik works on both personal and commissioned projects with clients all around the world. In contrast to traditional photography he doesn’t capture moments, he captures ideas with the help of his camera and imagination. The goal is to make it look as realistic as possible even if the scene itself contains impossible elements. In the end it all comes down to problem solving, finding a way to capture the impossible.”