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Octo pendant lamp

Octo pendant lamp

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❤️‍🔥 🪑More interior and art moments in The Drama

❤️‍🔥 🪑More interior and art moments in The Drama

The interiors in The Drama clearly resonated (see previous post), so here are a few more details worth noticing. The apartment feels instinctive and lived-in, where mid-century pieces sit alongside vintage finds and contemporary art with real intent.

At the centre of Charlie (Robert Pattinson) and Emma’s (Zendaya) Boston apartment is the Cross Extending Table by Matthew Hilton. It anchors the scene where Charlie writes his wedding speech.

Around it, a mix that feels natural rather such as the Vintage ladder-back woven rush chairs, originally from the Netherlands, which sit alongside Cesca chairs, bringing together rustic and modern in a way that feels believable.

On the walls, the mood deepens. Sara Cwynar’s Peony II introduces a saturated burst of colour, while Tristan Unrau’s Shambolic Figure hangs above the fireplace with a more uneasy presence. A poster for The Passion of Ana (the 1969 Swedish psychological drama film written and directed by Ingmar Bergman) adds a subtle cinematic reference.

In Rachel’s (Alana Haim) workplace, a pair of Ligne Roset Ploum sofas, designed by Ronan Bouroullec and Erwan Bouroullec, offer a different kind of comfort. Low, expansive and free-form, they’re almost nest-like.

It’s this layering that gives The Drama its edge. Every object plays its part.

👀🛍️ Find these pieces, and where to source them for your own home, in our Marketplace

@thedrama
@a24
Directed by Kristoffer Borgli
Production design by Zosia Mackenzie @clubzed
Set Decoration by Vanessa Knoll, Kimberly Murphy
In cinemas now.

A room that defined the future. In 2001: A Space

A room that defined the future.

In 2001: A Space Odyssey, the Djinn seating by Olivier Mourgue sets the tone. Low, fluid, and unapologetically modern, these pieces reject convention and embrace a new way of living.

Chosen by Stanley Kubrick for the Space Station 5 interiors, the Djinn chairs and two-seater sofa create a world that still feels ahead of its time. Their sculptural, low-slung forms and saturated colour helped define how audiences imagined the future, and continue to shape design thinking today.

The Djinn chaise travels well across decades and genres. It appears in Casino Royale, the playful Bond spoof where Peter Sellers lounges into its curves and Ursula Andress features with one in publicity imagery. It resurfaces again in White Lines, where its laid-back silhouette sits perfectly within a sun-soaked Ibiza interior.

Now, you can bring that same piece of cinematic design history into your own space.

We currently have an original Djinn set available. Professionally restored, built from original Airborne shells, and every bit as striking today as it was on screen.

🛍️ Discover the set and explore the full story in the Film and Furniture marketplace.
🔗 Link in bio.
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#filmandfurniture #StanleyKubrick #2001ASpaceOdyssey #CasinoRoyale #FilmDesign #ProductionDesign #SetDecoration #film #movies #furnituredesign #interiordesign

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

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