The retro poster look is a printing constraint that outlived the printing press. Mid-century travel and transit posters were screen printed, which meant each colour was a separate physical screen. Four or five colours was the practical limit, so designers built images out of flat shapes rather than blends, and reserved detail for wherever the eye would land first.
Two artefacts of that process are now the whole aesthetic. Halftone — printing tone as a field of dots — is how a flat-colour process faked gradients, and it survives as texture. Misregistration, where one screen sits a fraction off the others, was originally a defect; asking for it is what stops a render looking like clean modern vector art.
Composition inherits the same discipline. A poster has to work at a distance and leave room for type, so the shapes are large, the horizon sits high or low rather than centred, and there is a deliberately empty margin. Say that out loud in the prompt and Artlist gives you something you can actually set a headline on.