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.

Much of the magic of the Star Wars films derives from the fantastic landscapes and exotic built environments that serve as backdrops for its intergalactic tales of empires and rebellions. But when world-makers like George Lucas create these places, they often draw on real architects and architecture for inspiration, including the last and largest work of starchitect Frank Lloyd Wright.

Located north of San Francisco, the Marin County Civic Center consists of a massive rotunda housing a public library, offset by a strong vertical spire and long Hall of Justice (a classic Wright move to emphasize and juxtapose both horizontals and verticals). These same features can be found in the heart of Naboo, a Mid Rim world (near the Outer Rim Territories) featured across a series of Star Wars films.

As with their cinematic counterparts, Wright’s structures for Marin were designed to relate to the landscape – curved blue roofs pick up on the tones of the sky above while beige/pink walls tie into the earthen surroundings. Arched supports and the voids they create at different scales are also immediately recognizable as similar between the original Terrestrial architecture and its echos in Star Wars scenes.

For Wright as well as Lucas, there is an underlying idea at work in the design: a combining of grandeur worthy of civic architecture but also an aspiration toward something democratic, beautiful but accessible. The settings are also similar: complex and lush landscapes, fitting a similar vision found in both the architect’s and filmmaker’s works: a focus on working architecture into natural settings rather than envisioning dense cities. Lucas has directly acknowledged a debt to Wright for inspiring the architecture found in the Star Wars franchise, but has yet to announce whether he will be working on a sequel story: some of us are still waiting on Starchitecture Wars.

All of the stereotypes associated with the architectural profession and its stars, real and exaggerated, are about to be revealed in an hour-and-a-half movie starring Parker Posey (wife), Eric McCormack (husband), John Carroll Lynch (builder) and James Frain (architect).

Directed by Jonathan Parker, the The Architect‘s trailer gives you a taste of what is to come: “Often the opinion of the client must be disregarded for his own good,” says starchitect Miles Moss (Frain). “Less is only more when more is no good” (a satirical nod to Mies van der Rohe).

The story revolves around a couple that buy a tear-down house and decide to build from scratch. They spot a dwelling they like and hunt down the architect to design their dream home. It quickly becomes clear, however, that their dreams will be replaced by those of the architect, or at best: rendered in concrete, glass and steel. The wife (Posey) may also be having second thoughts about her choice of partner. Architects and architecture often take a back seat to the main story in films (see: Sleepless in Seattle), but in this picture, for better or worse, the profession is the center of attention.

As the story progresses, the architect’s masterful creation meets resistance, his impractical semi-circular spaces making for a tough sell (at least to the husband). “I don’t know why people hire architects, and then tell them what to do,” Moss wonders aloud, frustrated with his clients. Like this one, many of his lines clearly refer to quotes from famous architects both contemporary (e.g. Frank Gehry) and historical (e.g. Le Corbusier).

“These are the sleeping spaces” says the architect, pointing at the plan (“You mean bedrooms?” the husband replies) — “You could call them that” he admits, his voice dripping with superiority (architects are somewhat notorious for giving things overly-fancy names). The movie hits on movements from Modernism through Deconstructivism, wrapping them in the comedic story of a troubled couple. Love it or hate it, relate or disagree, this is a must-watch movie for fans as well as critics of the profession.

It took over 100 artists to paint this full-length movie, the first of its kind: a work where every frame was hand-painted, then combined into an epic animation about, in the style and using the techniques of Van Gogh (oil and canvas).

This first trailer of Loving Vincent shows the brushstroke style anyone familiar with the artist’s world will immediately recognize. The movie is about Vincent’s life, death and works, an honest look at what was anything but a carefree existence. His own work also shows up throughout, 120 of his masterpieces in total, smoothly transitioned into the frames as the narrative unfolds around them.

A great deal of care went not only into the planning process, but also the execution so that each frame is both original and unique but transfers seamlessly to the next, despite the number of painters involved.

Produced by Oscar-winning studios BreakThru Films and Trademark Films, production is still in progress in Gdansk, Poland, but this sneak peaks suggest it will be well worth the prices of admission (h/t Colossal).

More from the filmmakers: “Loving Vincent is an investigation delving into the life and controversial death of Vincent Van Gogh, one of the world’s most beloved painters, told by his paintings and by the characters that inhabit them. The intrigue unfolds through interviews with the characters closest to Vincent and through dramatic reconstructions of the events leading up to his death. Every frame in the Loving Vincent movie is an oil painting on canvas, using the very same technique in which Vincent himself painted.”

An idle thought while waiting out a snowstorm led to an accidental artistic discovery: projecting a movie on falling snow can result in an visually rich result bordering on magical, in turn captured on film.

Photographer Brian Maffit had no idea what to expect when he turned his projector to face outside his window during a snowstorm, but when he realized the potential, he began documenting the results with both still and video cameras.

By zooming in and out, shifting the perspective of the projector and the camera, and taking shots at various degrees of snowy downfall and capturing moments throughout the movie, the images end up spanning a surprising visual range of colors and contrasts.

“The ‘RGB dots’ were the biggest surprise, I guess when the projector is showing a white screen, it is really rapidly cycling between fully-saturated red, green, and blue screens… thus the dots in a few of the shots.”

Aside from the embedded video and stills found here, you can also visit his Flickr page for high-resolution images taken throughout the experience. And the film in question? The Lorax. Perhaps best watched on snow anyway.