A new fan-made poster for The Matrix Resurrections sees Keanu Reeves’ Neo dissolve into the notorious calculation of the nominal Matrix. Coordinated by Lily and Lana Wachowski, The Matrix released in 1999 and seemingly shook the foundations of Hollywood blockbuster film-making. Audiences and critics the same raved over the film’s electric activity and camerawork while also finding an incredible arrangement to contemplate over in the questions raised by the film, including explorations of the self, choice, and the illusion of destiny, just to list a couple. The original film was trailed by two sequels in 2003, which, while financially successful, couldn’t imitate the same response.
Instagram user spdrmnkyxxiii captures the film’s mystery in a new fan-made poster, which sees Neo disintegrating into the Matrix itself. The main picture is a simple close-up of Reeves’ character, obviously somewhat more established than when last seen in The Matrix Revolutions and sporting the actor’s signature long hair and facial hair, which have been a staple of his look since John Wick. He also dons a couple of sunglasses similar to the kind the character wore through the original set of three. In particular, Neo’s face appears to disintegrate within the same lines of code that make up the structure of the Matrix, somewhat tying in with the films premise of returning to the simulation.
The poster appears to inspire the esthetic of the marketing campaigns used across the two Matrix sequels, which were released within six months of one another. The posters for both of those films included focal characters illuminated in the famous green shading scheme associated with the Matrix, while also being obscured by the same lines of code used by the calculation itself. This marketing was incredibly reminiscent, however remarkable, with green not being an easy shading to make appealing when contrasted with the customary blue-green/orange contrast used favorited in the advanced time.
In contrast, the genuine marketing for The Matrix Resurrections has been somewhat more reigned-in, with posters opting for to a greater degree a minimalist, pristine, white esthetic with just accents and hints of green. This is more reminiscent of the marketing for the original film, which could in turn be an endeavor to subconsciously bunch this new sequel all the more closely to that film in the minds of audiences, as opposed to the apparent misfires that followed. This also seems to coordinate with a visual prompt from the trailer, as the green tone that was used to distinguish scenes that took place within the advanced world in the first three films is seemingly absent in Resurrections. Regardless, the seemingly endless influence of The Matrix is seen in examples such as this, which sees fan-workmanship still created in response to the ideas and esthetics it offered of real value almost two decades prior.