Film
The Matrix
1999, 2025 Release
36″ x 24″ (91 x 61 cm) Single Sided, Limited Edition, Hand-Numbered (#11/75) Giclee Print by Pablo Olivera
United States (USA)
Near Mint – Rolled, Flat & Unfolded (as issued)
The Wachowski Brothers
Anthony Ray Parker, Belinda McClory, Carrie-Anne Moss, Gloria Foster, Hugo Weaving, Joe Pantoliano, Julian Arahanga, Keanu Reeves, Laurence Fishburne, Marcus Chong, Matt Doran
“It seems that you’ve been living two lives. One life, you’re Thomas A. Anderson, program writer for a respectable software company. You have a social security number, pay your taxes, and you… help your landlady carry out her garbage. The other life is lived in computers, where you go by the hacker alias “Neo” and are guilty of virtually every computer crime we have a law for. One of these lives has a future, and one of them does not.”
On its release at the dawn of a new Millenia the Wachowski Brother’s ground breaking science fiction blockbuster “The Matrix” influenced everything from fashion, technology, how movies are made and introducing us to…Bullet-Time. This 2025 alternative movie poster by Pablo Olivera is an outstanding re-design that takes you to the heart of the matrix with its wealth of lore and symbology from the mega-hit, Pablo’s print is a thrilling look back at the film’s imagery and themes – “You take the blue pill – the story ends, you wake up in your bed and believe whatever you want to believe. You take the red pill – you stay in Wonderland and I show you how deep the rabbit hole goes.”. It is a fine art giclee print where the colours literally pop from the paper and one of best examples I have seen that uses this printing process – the colours, in this case neon pinks, purples and blues are incredibly rich giving a true hand painted effect. This Purple Variant edition has been Hand-Numbered #11/75 that represents a cool looking film poster from a “game-changing” movie. A true modern classic that displays superbly and is presented in excellent rolled condition.
Trivia: All scenes that take place within the Matrix have a green tint, as if watching them through a computer monitor. Scenes in the real world have a blue tint. Blue was also used at a minimum within the Matrix, since the directors thought blue was more of a real-world color (despite, ironically, blue being often the least-occurring color in nature). The fight scene between Morpheus and Neo, which is neither in the real world, nor in the Matrix, is tinted yellow.
…more detailVintage Movie Posters Grading Criteria... read more +
“Thomas A. Anderson is a man living two lives. By day he is an average computer programmer and by night a hacker known as Neo. Neo has always questioned his reality, but the truth is far beyond his imagination. Neo finds himself targeted by the police when he is contacted by Morpheus, a legendary computer hacker branded a terrorist by the government. As a rebel against the machines, Neo must confront the agents: super-powerful computer programs devoted to stopping Neo and the entire human rebellion.”
If there was one sci-fi movie that defined the 90’s, it would have to “The Matrix“, arriving late in the game in the year of 1999. With school-shootings and “Y2K” bugs baring down on the masses, it was only appropriate that a sleeper-hit such as this one came along to truly capture and define the end of the century. Whether it was fate or chance, the brothers Wachowski managed to create a film that not only captured the imaginations of its audience as well as played off its fears, but a film that — ten years later — holds up and marks a high point in American film-making. Simultaneously matching and surpassing the groundbreaking special effects and outlandish action–sequences of 1991’s “Terminator 2: Judgment Day,” “The Matrix“ set a precedent that no modern film has yet to live up to, despite the mixed feelings that stem from its two sequels…Imagine everything you know is not real. A fabrication, as a matter of fact. Your whole life, you’ve been asleep, dreaming that you’re living out your rote, uneventful existence. You constantly search for answers, for the meaning of your own existence, to no avail. That is, until somebody opens your eyes, waking you to a new reality, a new world. A world where you are an unknowing slave to technology (subtle social commentary, eh?) and the world you thought you knew is nothing more than a computer program fed to you while you sleep. Such is the premise of “The Matrix“ Keanu Reeves plays Thomas Andersen, a computer hacker who lives at his computer and could care less to socialise, let alone get up and go to work each day. He lives in cyberspace under the codename “Neo”, not realizing that he himself is being pursued. Soon, he is extracted from the fabricated world – The Matrix – and faces a harsh reality through the assistance of a philosophical leader by the name of “Morpheus” (Laurence Fishburne) and a fellow hacker, “Trinity” (Carrie-Anne Moss), where he comes to learn his purpose is astronomical, Christ-like, even. He does battle against the agents – led by the sinister Agent Smith Hugo Weaving) — who keep The Matrix in check, all in an effort to salvage what remains of the free-thinking human race…Notorious for its mind-bending special effects as much as it is for its philosophical and religious undertones, “The Matrix” is a film that, as it nears its tenth anniversary, remains relevant today. With repeated viewings, the film still looks fresh and feels brand new. Despite the fact that the “Man vs. Machine” theme present has been done to death in other films, it is tackled by the script in a way that is both unconventional and definitive. Its impact was immediately felt on pop-culture, and still resonates today. It’s more than just loud, shoot-em-up fun with stunning visuals. It’s also a timeless portrait of where society currently sits and where its unknown future is heading. Social commentary aside, though, it’s still incredible entertainment. A well-rounded, well-made film that will stretch the imagination for years and whose impact should hold up as a benchmark for future classics to live up to.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
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LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
