The movie poster responds to the logics of the advertising field. Yet, its way of mediating between the spectator and the product that it advertises —an audiovisual work consisting of hundreds of images— make it a complex cultural product and allows us to analyze it using the notion of intermediality, as the inscription surface for signs that migrate from the screen to the printed poster. This article explores the posters of three contemporary Chilean films viewing them as the symptomatic expression of a social, historical, and aesthetic gaze.