Ghana Mobile Cinema Hand-Painted

Re-render this image in the visual register of Ghanaian mobile cinema hand-painted posters (1980s through 2000s, roadside exhibition tradition, painted by hand-trained studio painters who worked on plywood boards, cloth backings, and aluminum sheets for traveling cinemas and outdoor venues). Painted in bright house-brand acrylics with zero hesitation, the work is flat and graphic, working from memory and intuition rather than reference. Palette saturated to the absolute maximum: electric cobalt, lime yellow, hot magenta, cadmium orange, acid turquoise, vermilion, all at full saturation, often pushed into acidic oversaturation. The colors do not blend, they collide; no tonal modeling, no subtle shadow work, the subject occupies the plane and the plane is the color. Figures rendered with generous proportions, musculature exaggerated, faces expressive and frontally lit, anatomical logic secondary to emotional impact. Details: gold or silver accents on cloth, face details blocked in with darker accent lines, lettering often painted freehand with perspective distortion, secondary figures crowded into upper edges and corners, occasional hand-painted texture suggesting fabric or water. Composition dynamic and crowded, figures overlapping, the space electric with action. Surface: visible brushwork at all scales, the stroke preserved without blending, acrylic layered thick enough to cast shadow on itself, matte finish, weathered slightly by dust and sun. Mood: vital, unironic, surviving joy, the movie poster as a daily ceremony of color that refuses diminishment. Strictly no on-canvas legible text, no title cards, no artist names, no studio marks, no watermark. Preserve the subject, pose, and composition of the source image exactly, change only the medium and rendering.