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Vicent Díaz

Films / TV

Parallel Mothers / Madres Paralelas

Parallel Mothers / Madres Paralelas

The Skin I Live In

The Skin I Live In

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🎬 La La Land at 10: beyond the dancing, the interi

🎬 La La Land at 10: beyond the dancing, the interiors are doing plenty of storytelling too.

Damien Chazelle’s La La Land returns to cinemas from 16 August, ten years after its debut, and we’ve been looking again at the film through its furniture, lighting and interiors.

💗 Mia’s apartment is exuberant and theatrical. Floral wallpaper, mismatched patterned bedding, a huge Ingrid Bergman portrait, vintage lamps, an old dresser and bursts of red, pink and turquoise create the home of someone already living partly inside her own Hollywood fantasy.

As Mia works on her one-woman show, the living room becomes a creative sprawl: pages across the floor, a faded orange sofa, upright piano, small wooden tables and domestic lamps.

🎹 Sebastian’s apartment is far more stripped back. Pale walls, hard daylight through Venetian blinds, a simple bed and little decoration leave the piano, records and record player to dominate.

And then there’s the Griffith Observatory, where its monumental stone interior, Art Deco lighting and great circular Foucault pendulum become part of the choreography.

Production designer David Wasco and set decorator Sandy Reynolds-Wasco give Mia and Sebastian very different visual worlds. Ten years later, there is still a lot to look at.

Which La La Land interior would you move into? 🎹💃

🔎 More film interiors, furniture and design at Film and Furniture.

#filmandfurniture

Few filmmakers make ordinary interiors feel as uns

Few filmmakers make ordinary interiors feel as unsettling as David Lynch.

In Blue Velvet, pastel diner booths, pink bedrooms, floral fabrics, old televisions and familiar furniture all seem ordinary at first. Then it all goes off on one.

Dorothy Vallens’ apartment is where that unease starts to grip. Dusky plum-purple walls, green curtains, heavy upholstery and pools of lamplight give the room a theatrical quality. There’s also a surprising plethora of snake plants, their tall, graphic leaves looking especially striking against those purple walls and adding another slightly surreal note.

Lynch creates dread through suggestion. A lamp, a curtain, a sofa or an apparently ordinary room can feel charged with something ominous through colour, lighting, composition and what might be waiting just beyond the frame.

Costume designer Patricia Norris also worked closely with Lynch on the film’s visual world, helping shape the sets, colours and atmosphere that make Blue Velvet feel both recognisable and suitably strange.

🔎 Explore more furniture, décor and interiors from film at filmandfurniture.com

Blue Velvet (1986), written and directed by David Lynch.

Bathrooms in Film No. 3: Bathroom rituals Bathroo

Bathrooms in Film No. 3: Bathroom rituals

Bathrooms are full of rituals. Shaving. Brushing teeth. Applying make-up. Clipping toenails. Making phone calls from the loo. Bathing. Dressing. Looking in the mirror. Sometimes hiding out.

Film loves these small routines because they reveal character while giving actors something wonderfully ordinary to do.

In The Darjeeling Limited, shaving becomes a group ritual in the train washroom. Licorice Pizza turns the bathroom into a private spot for a phone call, while Poker Face makes use of the intimacy of a tiny loo. The Royal Tenenbaums gives Margot a perfectly period setting for her grooming and telephone habits, and Le Mépris brings strong mid-century colour and sanitaryware into play.

Then things get stranger. Paddington turns toothbrushing into slapstick, The Shining makes bathing and bathroom conversations deeply unsettling, Stuart Little gets his own miniature basin and mirror, while The Cook, the Thief, His Wife & Her Lover turns grooming into something ceremonial.

From tiles and taps to mirrors, basins and loos, bathrooms give filmmakers a concentrated little world for everyday behaviour.

🚿 Explore more furniture, interiors, set decoration and production design from film and TV at filmandfurniture.com.

#filmandfurniture

🎬 Inside the strange, seductive world of Teenage S

🎬 Inside the strange, seductive world of Teenage Sex and Death at Camp Miasma.

Production designers Brandon Tonner-Connolly (@brandontconnolly) and Matt Hyland (@oneonetwothree) transformed remote summer camps into a richly layered world of handmade art, vintage furniture and old-school cinematic craft.

🛋 Around 90% of the set decoration was sourced locally on Vancouver Island, including Billy’s weathered orange mid-century leather sofa.

🖼 Gillian Anderson’s character is surrounded by artworks inspired by Josef Albers and Vera Molnar, while the team also revived matte painting to create the film’s dreamlike landscapes.

We spoke to the designers about the furniture, interiors, art and practical filmmaking behind the film.

🔎 Read the full story at Film and Furniture. Link in bio.

@welcometocampmiasma Directed by Jane Schoenbrun @janedoesnotknow
Set Dec by hana Cook @iquitelikethedark
@mubi
#filmandfurniture

Bathrooms in Film No. 2: Mirrors, grooming, perfor

Bathrooms in Film No. 2: Mirrors, grooming, performance and self-image

Few objects in a film bathroom work harder than the mirror.

Characters use them to get ready, apply make-up, shave, rehearse, scrutinise themselves, check the face they are about to show the world, or confront one they barely recognise.

Mirrors also give filmmakers another frame within the frame. A face can appear twice. Somebody can be watched without turning around. The room can suddenly feel larger, stranger, more intimate or more exposed.

Add lighting, tiles, cosmetics, taps and colour, and the bathroom becomes a perfect stage for transformation. From the pink-and-green haze of La La Land to the saturated glamour of The Neon Demon, the cool geometry of Decision to Leave and the unsettling reflections of The Substance, these rooms reveal plenty.

Films pictured include Black Mirror, Decision to Leave, Joker: Folie à Deux, La La Land, Last Tango in Paris, The Neon Demon, Parallel Mothers, Point Blank, Saltburn and The Substance.

Which bathroom mirror scene has stayed with you?

🪞 Find more production design, interiors and screen-worthy objects at Film and Furniture, filmandfurniture.com.

#filmandfurniture

Dinner at Eight (1933) is a glorious lesson in how

Dinner at Eight (1933) is a glorious lesson in how Hollywood used interiors to sell fantasy.

Directed by George Cukor, with art direction led by Cedric Gibbons, the film is packed with vast rooms, mirrored furniture, polished floors, sweeping curves, satin, fur and pale surfaces designed to shimmer beautifully in black and white.

The standout is Jean Harlow’s bedroom as Kitty Packard: an enormous scalloped and tufted bed, mirrored dressing tables, gleaming accessories and enough white fabric to keep a dry cleaner in your phone favourites.

This was part of the lavish MGM look Gibbons helped establish during the studio era, where shades of white, cream, grey and silver created depth, glamour and plenty of reflective sparkle on screen.

The old money here feels restrained and traditional, while Kitty and Dan Packard’s interiors are brasher, shinier and gloriously new money.

Nearly a century later, the sets still look astonishing.

Which classic Hollywood film gets your vote for the best interiors?

👀 More film interiors, furniture and design stories at Film and Furniture.
🔗 Link in bio.

#filmandfurniture

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