The Oscars 2025 are fast approaching, and one of the most eagerly awaited categories for the Film and Furniture community is that of Best Production Design. The 97th Academy Awards production design nominees take us from magic to modernism: The Brutalist, Conclave, Dune: Part Two, Nosferatu, and Wicked each deliver unforgettable visual experiences that transport us to entirely different worlds.

From dystopian landscapes to whimsical fantasy realms, each design offers a masterful interpretation of its narrative, creating environments that are as integral to the story as the characters themselves.

Let’s dive into each film’s standout design elements and explore how the production designers brought their worlds to life.

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The Brutalist

The Brutalist, directed by Brady Corbet, is a powerful visual exploration of László Tóth, a Hungarian architect who survives the Holocaust and finds a new life in postwar America.

Production designer Judy Becker and set decorator Patricia Cuccia immerse us in a period defined by minimalist and functional design, drawing from iconic figures like Marcel Breuer and Mies van der Rohe. Featuring bold architecture and design including brutalist buildings and tubular steel chairs, the film seamlessly blends design with narrative.

Key scenes, such as the transformation of  Van Buren’s library reflect Tóth’s personal evolution. What was once was a dark, heavy space filled with Art Deco furniture and deep red drapes is now reborn into a light-filled, minimalist marvel. Tóth’s visionary redesign includes floor-to-ceiling plywood bookcases that hinge open in unison and a modernist chaise, creating a stunning visual spectacle.

The design highlights the raw, stripped-back essence of Brutalism, honouring its legacy while grounding it in the emotional journey of its characters.

As well as Best Production Design, The Brutalist has been nominated in the 2025 Oscars for Best Picture; Best Director; Best Actor – Adrien Brody; Best Supporting Actor – Guy Pearce; Best Supporting Actress – Felicity Jones; Best Original Screenplay; Best Cinematography; Best Original Score and Best Film Editing.

You can discover more by taking a read of our in-depth feature on furniture in The Brutalist, watch the video interview with production designer Judy Becker and set decorator Patricia Cuccia below for more insights, or listen to the Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.

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Conclave

In Conclave, directed by Edward Berger, production designer Suzie Davies crafts a world where ancient architecture and modern tensions collide. Set within the secretive confines of the Vatican, Davies blends historical and contemporary elements to capture the high stakes of a papal election.

The Sistine Chapel, recreated in stunning detail at Cinecittà Studios, anchors the story in history, while modernist pieces like the LC armchairs and Arco floor lamp inject a subtle modernist edge.

The austere, minimal spaces—embellished with textured surfaces and a deliberate use of red—create a dramatic contrast, underscoring the secrecy and isolation of the Cardinals.

Every space, from the opulent Vatican interiors to the sterile Casa Santa Marta, heightens the tension and power dynamics at play, making Conclave a visually compelling examination of tradition and vulnerability.

As well as Best Production Design, Conclave is nominated in the 2025 Oscars for Best Picture; Best Actor – Ralph Fiennes; Best Supporting Actress – Isabella Rossellini; Best Adapted Screenplay; Best Costume Design; Best Film Editing; Original Score.

You can discover more by taking a read of our in-depth feature Designing the Secretive World of Conclave, watch the video interview with production designer Suzie Davies below for more insights, or listen to the Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.

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Dune: Part Two

In Dune: Part Two, directed by Denis Villeneuve, production designer Patrice Vermette and set decorator Shane Vieau deliver a stunning visual portrayal of the film’s three distinct worlds—Arrakis, Giedi Prime, and Kaitain.

Arrakis, the desert planet, is brought to life with Fremen dwellings carved from rock and tents that mimic the resilience of desert creatures, drawing inspiration from the harsh desert environment. In stark contrast, Giedi Prime—the Harkonnen homeworld—is a brutalist nightmare, its oppressive architecture inspired by black septic tanks and Soviet futurism. Meanwhile, Kaitain exudes grandeur and opulence, and was filmed in an architectural masterpiece by Italian architect Carlo Scarpa.

Through texture, innovative designs, and furniture pieces that blend modernity with antiquity, Dune: Part Two masterfully explores themes of power, politics, and identity. Every detail, from the distinctive sandworm rig to the luxurious furniture of the Imperial court, contributes to a rich, immersive world where architecture and design reflect the cultural and political tensions at play.

Dune: Part Two is also nominated in the 2025 Oscars for Best Picture; Best Cinematography; Best Sound; Best Visual Effects.

You can discover more by taking a read of our in-depth feature Design Secrets of Dune: Part Two: How Spaces Shape Cultures, watch the video interview below for more insights, or listen to the Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.

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Nosferatu

In Nosferatu, directed by Robert Eggers, production designer Craig Lathrop expertly balances historical authenticity with a chilling atmosphere.

Set in the fictional German town of Weisberg and Orlok’s decaying castle, Craig’s designs transport us to the early 19th century while heightening the film’s sense of dread and isolation.

The Harding family’s house is a study in contrast, where elegant, aspirational furnishings are juxtaposed with eerie, unsettling touches. Meanwhile, Orlok’s castle is stark and sparse, reflecting the character’s twisted existence. Every piece of furniture, from the mechanical bird in the Harding house to Orlok’s coffin, is imbued with symbolic meaning, deepening the emotional impact of the film. Craig’s meticulous attention to detail—particularly his work on the sets, from the cobblestone streets to the ominous castle—makes Nosferatu a masterclass of atmospheric world-building, where every element of design enhances the psychological depth of the story.

Nosferatu is also nominated in the 2025 Oscars for Best Cinematography; Best Costume Design; Best Makeup and Hairstyling.

You can discover more by taking a read of our forthcoming in-depth feature, video interview and Film and Furniture podcast – out Friday 28th February.

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Wicked

Narratively, and visually, Wicked (2024), directed by Jon M. Chu, takes us on a journey through the fantastical land of Oz with production design by Nathan Crowley.

Crowley’s design, together with set decoration by Lee Sandales, seamlessly merges historical influences with magical realism, from the vibrant Munchkinland to the grandeur of the Emerald City. Drawing on the architectural styles of the neoclassical White City and Venetian courtyards, Crowley creates spaces that feel both timeless and magical.

The design of Shiz University, with its Moorish arches and Italian palaces, creates an atmosphere of wonder and scholarly pursuit. Meanwhile, the Emerald City combines modernism with lavish ornamentation, blending dreamlike elements with a welcoming, immersive world.

Crowley’s dedication to practical design is seen in every aspect of Oz, from the 106-foot-long Emerald City Express to the intricately designed dorm rooms, showcasing his ability to balance magic with authenticity. This careful attention to detail makes Wicked a visually unforgettable cinematic experience.

Wicked is also nominated in the 2025 Oscars for Best Picture; Best Actress – Cynthia Erivo; Best Supporting Actress – Ariana Grande; Best Original Score; Best Sound; Best Visual Effects; Best Costume Design; Best Makeup and Hairstyling; Best Film Editing.

You can discover more by taking a read of our in-depth feature Behind the Film Sets of Wicked with Nathan Crowley, watch the video interview below for more insights, or listen to the Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.

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Other Notable Design Mentions

While several visually stunning films at the 97th Academy Awards didn’t secure a nomination for Best Production Design, some standout design contributions can be found in Best Picture contenders.

Among them is Anora (Best Picture; Best Director – Sean Baker; Best Original Screenplay; Best Film Editing; Best Actress – Mikey Madison; Best Supporting Actor – Yura Borisov), a film that balances its gritty realism with striking production choices that enhance its fast-paced, darkly comedic narrative.

A Complete Unknown, directed by James Mangold, boasts multiple nominations, including Best Picture, Best Director, Best Actor (Timothée Chalamet), and Best Supporting Actor (Edward Norton). The film’s production design, led by Francois Audouy with Set Decorator Regina Graves, meticulously recreates the folk-music era of the 1960s from Greenwich Village cafés to recording studios.

You can discover more by taking a read of our in-depth feature The Film Sets of A Complete Unknown (Part 1), watch the video interview below for more insights, or listen to the Film and Furniture podcast on Podbean, Spotify, Apple Podcasts, and all your usual platforms.

Emilia Pérez, another Best Picture nominee directed by Jacques Audiard, incorporates a striking visual style that echoes the film’s profound themes of culture and identity. With an impressive slate of nominations (Best Director, Best Actress – Karla Sofía Gascón, Best Original Score, Best Makeup and Hairstyling, Best Adapted Screenplay, Best International Feature Film – France, Best Sound, Best Film Editing, Best Original Song – “El Mal” and “Mi Camino”), the film’s vibrant set pieces and rich colour palette intensify its emotional storytelling.

Lastly, The Substance—a Best Picture nominee featuring a Best Actress-nominated performance by Demi Moore—delivers a bold, visually arresting approach to body horror. Set in Los Angeles, the film follows Elizabeth Sparkle, a TV aerobics instructor forced out of her job on her 50th birthday, who turns to a mysterious substance that restores her youth—at a sinister cost. With elements of Oscar Wilde’s The Picture of Dorian Gray and visual nods to Stanley Kubrick, the film carves out a unique aesthetic identity. Its Best Original Screenplay and Best Makeup and Hairstyling nominations underscore both its narrative originality and striking visual execution. Stay tuned for our forthcoming in-depth feature and video interview with production designer Stanislas Reydellet.

Though these films weren’t recognised in the Best Production Design category, their exceptional design work plays an integral role in shaping the storytelling and enhancing the cinematic experience.

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Best Production Design: Film and Furniture’s Prediction

As we look ahead to this Sunday’s Oscars each of these nominees offers a unique and powerful vision of design and the competition for Best Production Design is fierce.

Who will take home the coveted statue for Best Production Design? Our hunch is Wicked, but whoever it is, one thing is certain—2025’s nominees have set a new benchmark for cinematic set design.

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When and How to Watch the Oscars 2025

The Oscars are on Sunday, March 2.

The show starts at 7 p.m. EST with the official red carpet show beginning at 6:30 p.m. EST. These will air live on ABC and the ABC app. It will also be available to stream live on Hulu, YouTubeTV, AT&T TV and FuboTV. 

In UK, you can watch from midnight GMT on ITV1 or via its streaming platform ITVX.