• Features
    • All
    • F&F Features
    • Guest Features
    • Events/Exhibitions
    • Resources
  • Marketplace
    • Furniture & Homeware
    • Films & TV
    • Books & Mags
    • Recommended Retailers
    • The Shining request form
  • Films+TV
  • About
  • News+Members
    • News+Members
    • Sign In
  • PODCAST
  • Contact
Follow
Facebook logoFacebookTwitter logoTwitterInstagram logoInstagramPinterest logoPinterestRSS logoRSS

Julie Berghoff

Films / TV

The Handmaid’s Tale

The Handmaid’s Tale

The Studio

The Studio

  • Features
    • All
    • F&F Features
    • Guest Features
    • Events/Exhibitions
    • Resources
  • Marketplace
    • Furniture & Homeware
    • Films & TV
    • Books & Mags
    • Recommended Retailers
    • The Shining request form
  • Films+TV
  • About
  • News+Members
    • News+Members
    • Sign In
  • PODCAST
  • Contact
Facebook logoFacebookTwitter logoTwitterInstagram logoInstagramPinterest logoPinterestRSS logoRSS
From Instagram
Some furniture moments from Euphoria Season 3 Cas Some furniture moments from Euphoria Season 3

Cassie and Nate’s oversized, chintz-drenched LA house. Lexi’s apartment. Jules and Maddy’s artist studio. Even the Mexico border. Interiors here are pushed to full throttle.

🎬 💡 📧 Inspired? Join our newsletter community for bi-weekly Film and Furniture inspiration, insider design stories from film and TV, and a FREE upgrade to our CLASSIC MEMBERSHIP with access to exclusive giveaways and more.
🔗 Sign up via link in bio.

PD: François Audouy @audouy 

#filmandfurniture #furnitureinfilm #furniture #interiors #design #Zendaya #HunterSchafer #MaudeApatow #JacobElordi #SydneySweeney
LOVED The Christophers. And LOVED the house. Dire LOVED The Christophers. And LOVED the house.

Directed by Steven Soderbergh, The Christophers follows an ageing artist and his assistant hired by his opportunistic children to track down his valuable unfinished canvases.

Julian Sklar’s house is the film’s main stage, and it more than earns the role. The exterior was shot in Fitzroy Square, with its Robert Adam pedigree, while the interiors were built on set by merging two conjoined townhouses. The result is layered, beautifully atmospheric, fully convincing, authentically set dressed and brilliantly lit.

Among the eclectic, lived-in mix of furniture and ephemera, look out for the Jieldé Signal lamp, originally designed in 1950, its industrial feel lending a focused, almost obsessive energy to Sklar’s painting process. Then there’s that zingy orange Anglepoise on Lori’s desk in her own artist home.

Ian McKellen (@ianmckellen) is on blistering form, delivering Ed Solomon’s lines with wit and dryness, alongside michaelacoel.

And a small personal thrill: spotting the very same bench still holding court at The Griffin pub in Shoreditch, where many early 2000s evenings were spent.

👉🏼 Find furniture and lighting in film at FilmandFurniture.com (link in bio)

🎬 @thechristophersfilm is in cinemas now.
📽️ @neonrated 

🖌️PD: Antonia Lowe @antonia.lowe5 
🪑SD: Kimmy Hussey
Never trust a cheap furniture showroom. The Backr Never trust a cheap furniture showroom.

The Backrooms (releasing in cinemas around May 29) is an A24 horror directed by Kane Parsons (@kanepixels), expanding his viral “found footage” YouTube series into something far more spatially ambitious.

There’s been plenty of talk around liminal spaces recently. This takes the idea and pushes it into full psychological horror.

A therapist (Renate Reinsve) searches for her missing patient (Chiwetel Ejiofor), a failed architect who discovers a portal hidden inside a low-rent furniture warehouse. It opens into the Backrooms. An endless interior of yellowed offices and looping corridors with no clear logic and no exit.

The “mono-yellow” palette does much of the heavy lifting. Walls are wrapped in aged yellow-beige wallpaper, lit by relentless fluorescent grids that flatten everything into the same uneasy tone. Familiar, but wrong.

Furniture becomes the real storyteller. Mismatched 1980s armchairs, generic desks and solitary tables appear stranded in vast, empty rooms. Elsewhere, dressers, shelving and office units are flipped, stacked or jammed together into crude barricades. Fragments of memory dragged into place and left to harden.

This is where the film lands: through the slow realisation that these interiors are built from things we recognise. The kind of pieces you pass every day without thinking. Until they start to look back.

🎬 💡 📧 Inspired? Join our 9000+ newsletter community to receive bi-weekly Film and Furniture inspiration and a FREE upgrade to our CLASSIC MEMBERSHIP, your pass to exciting giveaways and more!
🔗 Sign up via link in bio.

Production Design: @vermettedanny 
Set Dec: @tjsetdec 
@a24 @thebackrooms.online 

#filmandfurniture #KaneParsons #RenateReinsve #ChiwetelEjiofor #ProductionDesign #SetDecoration #film #movies #cinema #furniture #furnituredesign
Let's reflect a little more on Mother Mary – the Let's reflect a little more on  Mother Mary – the details are doing a lot of work.

Anne Hathaway leads, with Michaela Coel as Sam Anselm, and these interiors tell you exactly who they are.

Start in the mirrored dressing room. Repetition, reflection, performance. The production design leans into mirrored surfaces and extensive lighting rigs to build a textured, immersive environment. Rows of transparent folding chairs and Hollywood Regency lucite and brass trolleys sit almost invisibly within the space, letting the lights, costumes and bodies take over.

Then into Sam’s bedroom. A very different register. A tall, cane-backed chair holds the corner with a kind of upright posture, while an eighteenth-century mirror hangs above, catching fragments of the room and turning them back on her. It’s a space about introspection.

Look closer and the layering builds. Mid-century acrylic candlesticks on the bedside table, picking up the light. A low, weighty table grounding the room. Handmade sculptural candle stands near the fireplace, almost ceremonial in their presence.

And then the atelier parlour. A compact Swedish oak cabinet with a strict geometric front sits in the background. Ordered, controlled, composed. A counterpoint to the emotional volatility playing out around it.

Even the bed matters. Solid, architectural, almost severe. It holds the scene in place when everything else feels uncertain.

We have the low-down every one of these pieces.

Not naming them here.
Head to FilmandFurniture.com (link in bio) to see exactly what they are and where to find them (Search 'Mother Mary')

With big thanks and bravo to Set Dec: @lottsmax1m1xx 
Mother Mary from @a24 is in cinemas now
Production designer: Francesca Di Motolla @fran_mottola 
.
.
.
#filmandfurniture #FilmDesign #ProductionDesign #SetDecoration #movies  #furniture #furnituredesign #interiordesign
What’s the significance of the Carlo Bugatti chair What’s the significance of the Carlo Bugatti chair in Alien Covenant?

Alien: Covenant has enough aliens, spaceships and gore to keep most cinema-goers entertained, yet there’s a philosophical thread running through it: creativity.

The film opens with Weyland Corp’s synthetic David seated in a Carlo Bugatti Throne Chair beside an E1027 Side Table.

As he speaks to his creator Peter Weyland, he lists the objects in the room: the Bugatti chair, a Steinway piano, The Nativity, and David. Each a benchmark of artistic and design achievement.

The film closes with Das Rheingold, and in between, the aliens have… evolved.

So back to that chair.

Designed by Carlo Bugatti in 1905, the Throne Chair is deliberately unconventional. Walnut, copper, pewter, vellum. Influences drawn from Gothic, Japanese and Islamic traditions. It rejects standardisation and celebrates individuality at a time when industrial production was taking hold.

Bugatti pushed against uniformity. He created something entirely his own.

Placed in this pristine, futuristic setting, the chair becomes more than decoration. Its almost animal-like form mirrors David’s fascination with anatomy and experimentation, which unfolds as the story progresses.

Then there’s the pairing. The precision of Eileen Gray’s E1027 table, all tubular steel and glass, sits beside Bugatti’s expressive craftsmanship. Two opposing approaches, both intent on redefining design.

That contrast is the point.

This opening scene sets up a question that runs through the film: what does it mean to create? And what happens when the creation decides to go further than its maker?

And if, after all that, you need a cup of tea, take your cue from David, who serves it from a Rosenthal Form 2000 tea pot.

🪑🎬 Find furniture from film at FilmandFurniture.com (link in bio)
Read the Room: The Devil Wears Prada 2 (Part 2/2) Read the Room: The Devil Wears Prada 2 (Part 2/2)

If New York is pared back (see previous post), Milan is dialled up.

The Milan hotel suites
Set against the backdrop of Palazzo Parigi, the Milan scenes lean into grandeur. Marble, sweeping staircases, layered architectural detail. Though filmed at Winfield Hall in New York, the interiors are dressed to evoke Italian opulence at its most theatrical.

💖 And then the furniture and art that have honestly made our hearts sing!

🤩 Pieces by Misha Kahn appear throughout the suites. Sculptural furniture, objects that feel closer to art.
Organic forms. Unexpected materials. A deliberate clash with the classical envelope of the rooms.

This is where the film becomes most interesting. Old-world architecture meets contemporary collectible design. Stability against experimentation.

Lily’s loft
Back in New York, Lily’s apartment pushes further.
This is maximalism, but edited.
A deep red velvet Kevin Sofa grounds the living space. Substantial, low, and unapologetically present. Opposite, a Tavamo side table sits on a black pedestal base, graphic and precise.

Lighting becomes sculptural. The Meltdown floor lamp by Johan Lindstén, with its blown-glass spheres, reads as both object and atmosphere.

And then the artworks. More pieces by Misha Kahn, including a hand-woven mohair tapestry which is so gorgeous it stopped us in our tracks, and a dark blue lamp sculpture placed near the stair. They define the room and we're seriously in love.
The overall effect is layered, expressive, and confident. A space that reflects someone who has found her footing and chosen to show it.

The first film gave us aspiration through familiarity.
This one deals in curation. In contrast. In knowing exactly what to place, and what to leave out.

🛍️ Discover the exact furniture and decor pieces in our marketplace at FilmandFurniture.com (Link in Bio)

D: David Frankel
PD: Jess Gonchor
SD: Stephanie Q. Bowen

#filmandfurniture #DavidFrankel #MerylStreep #AnneHathaway #EmilyBlunt #ProductionDesign #SetDecoration #film #cinema #furniture #interiordesign
Join In

Disclosure: We may receive a small % commission if you click a link and purchase a product or service via this website.
We tell you this in the spirit of openness and please rest assured that all our recommendations are vetted and genuine.

ALL WRITTEN CONTENT © FILM AND FURNITURE.
All rights reserved. Content cannot be reproduced, distributed, transmitted, displayed or published without consent.
All original images: copyrighted to the original image maker and/or film company and are published under Fair Dealing.

Film and Furniture logos © Film and Furniture

Terms & Conditions Returns & Refunds Privacy Policy & Cookies Sign In
ADVERTISING & PARTNERSHIPS GUEST POSTS
Site design: Form®
We use cookies to ensure that we give you the best experience on our website. Learn more. View our privacy policy. Got it