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Cross Table by Matthew Hilton

Cross Table by Matthew Hilton

As seen in:

The Drama

Designer: Matthew Hilton

Director: Kristoffer Borgli

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From Instagram

When your decoration taste doesn’t suit everyone…

When your decoration taste doesn’t suit everyone…

In Beef Season 2, everything orbits Monte Vista Point, a California country club managed by Joshua (Oscar Isaac) and shaped, crucially, by Lindsay (Carey Mulligan), under the watch of Chairwoman Park, a formidable and exacting owner.

Lindsay is an aspiring interior designer, brought in to help reshape the club while still mid-way through a years-long renovation of her own home. Raised in the UK and later immersed in fashion and culture in Los Angeles, her references lean heavily into English country house style.

Creator Lee Sung Jin draws on pastoral cinema and dreamlike worlds, from the composed elegance of Barry Lyndon to the softer mood of Sofia Coppola. Production designer Grace Yun brings in another layer through the saturated, slightly heightened lens of Martin Parr.

Furniture is upholstered pastels, florals, tartans and plaids, building a version of English countryside eclecticism.

As the critical Chairwoman Park tours the space, Lindsay references wallpaper that reminds her of her family’s cottage in Cornwall. Later, she mentions waiting to select the china, corrected to “dishware”. Small signals of background and aspiration.

The response is blunt. The space is described as “colonial” and not in a good way. There is a suggestion it should all be redone. By someone else. A sharp way to dismantle any designer.

The club becomes a stage for taste, status and cultural reference. Every fabric choice carries narrative. A space can feel reassuring to one person and heavily loaded to another, all at the same time.

🛍️ Bring it home. Find furniture and interiors from film and TV at Film and Furniture.
🔗 Link in bio.
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#filmandfurniture #LeeSungJin #GraceYun #OscarIsaac #CareyMulligan #ProductionDesign #SetDecoration #InteriorDesign #Netflix #Beef #DesignInFilm

Objects of Influence: props, brands and storytelli

Designers in Film No 4: George Nelson If a film n

Designers in Film No 4: George Nelson

If a film needs to suggest optimism, intelligence and the promise of modern living, George Nelson is your man.

Nelson shaped a way of living in his design.
As design director at Herman Miller, he helped define American modernism, bringing clarity, lightness and a sense that the future could be both rational and joyful.

The Action Office Desk (1964). Clean lines, walnut, chromed steel. Designed for a new way of working.
Seen with some modification in 2001: A Space Odyssey, it sits so beautifully within Stanley Kubrick’s vision of the future.

The Bubble Lamps (from 1952). Soft, glowing, almost weightless.
The Saucer Pendant appears in Torch Song, The Father, Goodnight Mommy and the TV series Limbo. Its cocoon-like form diffuses light evenly, creating atmosphere rather than drama.

Originally inspired by Swedish silk lamps, Nelson developed a process using a sprayed plastic coating first used by the U.S. military. The result is a shade that feels both industrial and delicate.

The Cigar Lotus Floor Lamp. Organic, sculptural, unmistakable.
Seen in Severance, where it sits comfortably within Devon and Ricken’s mid-century interior. It brings warmth to a world tinged with fear and suspicion.

What Nelson understood, is that modernism didn’t have to be austere. It could be humane. Light-filled and playful. And we love him for it.

And beyond these pieces, his wider catalogue threads through film and television. Clocks, benches, the Coconut Chair, the Marshmallow Sofa. All part of a visual language that continues to define what “modern” looks like.

👀 Spotted a George Nelson piece on screen? Share it. We’re fairly sure there are more hiding in plain sight.

🛍️ Find furniture from film in our marketplace at FilmandFurniture.com — we do the sourcing so you don’t have to.

WIN tickets to Set & Scene 2026 🎟️ Film and Furni

WIN tickets to Set & Scene 2026 🎟️

Film and Furniture is proud to be an official partner of Set & Scene 2026 - a new London event bringing together the people who design and build the worlds of film, theatre, live events and immersive experiences.

Founder and Editor Paula Benson will be moderating the session:
Objects of Influence: Props, Brands and Storytelling

To celebrate the partnership, Film and Furniture is giving away three pairs of tickets to attend @setandsceneshow 25 April at Central Saint Martins, London.

🎟️ Want to be there?
Head to the link in bio to enter
Giveaway closes Sat 18th April
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#filmandfurniture #SetAndScene #ProductionDesign #SetDesign #SetDecoration #FilmDesign #TVDesign #TheatreDesign #ImmersiveDesign #Props #ObjectDesign #VisualStorytelling #Storytelling #CreativePractice #FilmIndustry

The Drama, up close Our favourite furniture and i

The Drama, up close

Our favourite furniture and interior moments from across The Drama.

From Charlie (Robert Pattinson) and Emma’s (Zendaya) Boston apartment to the film’s wider interiors.

In their apartment, mid-century pieces sit alongside vintage finds, creating a space that feels genuinely lived with.

Look out for:
Cesca dining chairs
The Snoopy lamp by Flos
Isamu Noguchi Akari light sculptures
The Marset Dipping Light
A vintage rattan chair
And table lamps… everywhere

Production design by Zosia Mackenzie

👀🛍️ Want the details? Head to FilmandFurniture.com to find and source the pieces (link in bio)

Designers in Film No 3: Marc Newson If a film nee

Designers in Film No 3: Marc Newson

If a film needs to suggest the future, it often turns to Marc Newson. Interestingly, Newson was fascinated from an early age with film sets such as those in Bond by the great Ken Adam, and Stanley Kubrick Dr. Strangelove and 2001: A Space Odyssey.

The sculptural Gluon Chair (1993) and accompanying footstool made its way on to the sets of Prometheus (production design by Arthur Max). It suggests a future that has learned how to live with itself. It was conceived as a modular chair and footstool pair, that could be joined together to form longer sofas or benches.

The Orgone Chair is another Newson form that also appears in Prometheus. it continues a similar language of seamless surfaces and rounded volume. Objects that feel almost aerodynamic, even at rest.

The Nimrod Chair (2002) for Magis is made from blow-moulded polyethylene, and generous upholstery - a silhouette that refuses to be ignored - as seen in Severance, where it introduces a note of retro-futurist optimism into Lumon’s unsettling world.

Newson’s work often plays this role on screen: Futuristic, but slightly off-key.

The Wood Chair takes a different direction: Steam-bent timber forming a continuous, looping structure, as seen in Passengers, where its organic form contrasts with the engineered perfection of the spacecraft interiors.

What ties all of this together is Newson’s instinct to push materials beyond expectation.

👀 Where have you spotted Marc Newson’s designs on screen?

🛍️ Find furniture from film in our marketplace at FilmandFurniture.com — we do the sourcing so you don’t have to.

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