Let's guess who this actor is.

He is an actor in the movie "Crime City 3," which will be released next month.

Just by looking at the poster, you can see at a glance what the film wants to emphasize.

This poster, on the other hand, wants to give curiosity instead of clarity.

The actor can only be seen in silhouette.

This is the launch poster for director Ryu Seung-wan's "Smuggling," which has confirmed its release date for the first time as a tentpole film this summer.

The poster, the first impression of the film, is even funnier when you know it.

Designer Choi Ji-woong, who created posters for "Crime City" and "Smuggling," also created posters for the well-known "New World" and "Bound for Busan."

[Choi Ji-woong/'Propaganda' director/designer: In the case of the Korean version, the poster concept was to show the actors' faces well and the situation of being chased by zombies.]

But the "To Busan" foreign poster was made differently.

There are no actors, only the overall mood and situation of the film is revealed.

Designer Ahn Dae-ho, who worked on three of the Big Four Korean films last summer, explains the difference between Korean and foreign movie posters:

[Ahn Dae-ho/'Steady' Chief Designer : If Korean posters go from a lonely figure to a crying figure, I think the big difference is that overseas movie posters end up with that lonely backside.]

Foreign movie posters emphasize the background or atmosphere without revealing the actor's emotions to a large extent, while Korean movie posters actively reveal the actors' emotions.

Foreign movie posters are also changed to match Korean sentiments when they are released in Korea.

In the case of "Portrait of a Lady on Fire", which won the screenplay award at the 72nd Cannes Film Festival and was also a hit in Korea, the original French poster was changed to this way in Korea, and it was well received by the audience.

However, not all foreign movie posters can be changed at will.

When it comes to a Hollywood blockbuster like "Guardians of the Galaxy," which opens next week, it's hard to get your hands on anything other than changing the title to Korean.

There are examples of Korean posters being highly regarded and used abroad, but even a poster that seems to have a title on the photo hidden the designers' concerns.

Take a look at the 'Decision to Break Up' poster created by designer Daeho Ahn.

First, the color of the actors' clothes has changed, right?

And in the actual film, the hands of the two actors, who were separated or stacked, were modified to look close, so that they were slightly draped together, creating a strange atmosphere between the two of them.

Movie posters are getting slower these days, especially streaming services like Netflix, which produce 20 or 30 posters per movie or drama series.

This is because it understands viewers' tastes and shows customized posters according to their viewing device.

It is a poster of a famous painting of memories that I drew with a picture.

Designers say it's unfortunate that movie posters these days seem to be seen as technically sleek but straightforward marketing tactics.

[Jiwoong Choi/Director and Designer of 'Propaganda': I think we can't ignore its function as a piece of work because it is a visual that will continue to be the face of this film as long as it exists.]

[Daeho Ahn/'Steady' Chief Designer : I want to make a poster that will be remembered as iconic to people, and my goal is to make a timeless poster.]

So, what are the life posters of these two designers?

Ahn Dae-ho's choice was Spielberg's "Ready Player One," while Choi Ji-woong chose Luc Besson's "Grand Bleu."

What is the poster of my life?

(Planning: Kwon Young-in, Composition: Park Jung-hyun, Video Interview: Yoo Dong-hyuk and Choi Choi-woong, Video Editing: Lee Seung-hee, Ha Sung-won, CG: Seo Seung-hyun, Seo Dong-min, Kim Han-gil)