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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

Bathrooms in Film No. 1: Bathing, soaking, hiding,

Bathrooms in Film No. 1: Bathing, soaking, hiding, escaping

Bathrooms are meant for washing, bathing and shutting the door on everyone else for five minutes. In films, the bathtub often becomes something more dramatic.

A place to relax, recover, dream, hide, unravel, sing loudly, drink, think, or simply disappear beneath the bubbles.

And filmmakers have given us tubs at every extreme. Vast Bond bathrooms built for decadence. Marie Antoinette reclining in almost palatial surroundings. Stark, shadowy baths that feel eerie. Baths that become a stage, a refuge, a joke, a threat, or occasionally somewhere to share the water with a lamb.

The bathroom can also tell us an enormous amount about the character using it. The taps, tiles, lighting, bottles, towels and scale of the room all place us inside somebody else’s world.

Films pictured include A Clockwork Orange, Atonement, Asteroid City, Diamonds Are Forever, Gone Girl, Lamb, Marie Antoinette, Pretty Woman, Requiem for a Dream, The Nice Guys and The Phoenician Scheme.

Which film bath would you happily sink into?

🚿 For more interiors, furniture and design on screen, visit Film and Furniture at filmandfurniture.com.
🔗 Link in bio

#filmandfurniture

🍴 What is it with film and TV’s obsession with kit

🍴 What is it with film and TV’s obsession with kitchens and cooking?

👨🏼‍🍳 As TONY, the new film about the early life of Anthony Bourdain, arrives in cinemas soon, we’re looking at a room filmmakers return to again and again: the kitchen.

In TONY, a 19-year-old Bourdain stumbles into the chaotic world of a restaurant kitchen in Provincetown, an experience that helps set the course of his life. Anyone who has watched The Bear, Boiling Point or Ratatouille will understand why professional kitchens make such fertile territory for storytelling.

Commercial kitchens are pressure cookers: hierarchy, ritual, speed, heat, noise and danger. In The Cook, the Thief, His Wife & Her Lover, the kitchen becomes theatrical and surreal, while the hot, industrial kitchen of Monkey Man is a world of stainless steel and steam.

Domestic kitchens tell different stories: family, seduction, arguments, solitude and everyday life.

Production design and set decoration make them especially revealing. Cabinetry, worktops, tiles and lighting establish era, income and taste, while a copper pan, battered saucepan, coffee pot or pile of washing-up can say just as much.

Look at Ruth Handler’s nostalgic kitchen in Barbie, where Barbie meets her maker, the vivid turquoise kitchen of All About My Mother, the shadowy world of Blade Runner 2049, or the meticulously arranged food and table settings of Fantastic Mr. Fox.

Cooking works beautifully on screen too. Chopping, stirring and washing-up give scenes rhythm while characters talk, fight, confess or think, and food brings memory, culture, class, pleasure and care.

Which screen kitchen has stayed with you, for the food, the drama or simply the design?

TONY, directed by Matt Johnson, stars Dominic Sessa as Anthony Bourdain alongside Emilia Jones, Leo Woodall and Antonio Banderas.

🔎 Spotted a piece of furniture or décor on screen you want to track down? Find it at FilmAndFurniture.com

#filmandfurniture @tonymovie @A24 @organichq
TONY film, kitchens in film, cooking on screen, production design, set decoration, film interiors

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