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S 35 L Armchair

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The Brutalist

Designers: Marcel Breuer, Walter Gropius

Thonet

Director: Brady Corbet

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From Instagram

Michelle’s office in Bugonia is clean, stripped-ba

Michelle’s office in Bugonia is clean, stripped-back and slightly intimidating - a space built around control. Production designer @jamesroberternestprice describes it as a spaceship.

The furniture choices include the Barcelona Chair by Ludwig Mies van der Rohe - a symbol of authority. Lighting adds another layer. The Ribbon lamp by Claire Norcross has a folded, slightly warped quality that feels modern but faintly off-kilter, while the Taliesin floor lamp by Frank Lloyd Wright brings architectural weight.

You can find exact pieces spotted in films over on the Film and Furniture website.

🎧 Hear James Price break it all down in our latest Film and Furniture Podcast episode — live now on YouTube (LINK IN BIO) and all usual podcast platforms.

Directed by @_yorgos_lanthimos_
Set Decoration by @prue.howard
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#filmandfurniture #FilmAndFurniturePodcast #YorgosLanthimos #Bugonia #FilmDesign #ProductionDesign #SetDecoration #film #movies #cinema #filmset #setdesign #furniture #furnituredesign #homedecor #interiors #interiordesign #design #designinspiration #interiorsinspo #behindthescenes

In Bugonia, Michelle’s home is immaculate, control

In Bugonia, Michelle’s home is immaculate, controlled and quietly intimidating. She may be suspected of being an alien… but if this is alien taste, we wouldn’t refuse a dinner party invite.

What makes it even better is that the filming location is a real contemporary house in Surrey, not a built set.

In this clip from The Film and Furniture Podcast, production designer James Price (@jamesroberternestprice) talks through how Michelle’s pristine house was designed in deliberate opposition to Teddy’s chaotic, cluttered world — and how furniture choices quietly
shape character and power.

From the commanding Imola Chair to the rare Jan Bočan armchairs by the pool, this is a house designed to be seen.

Directed by @_yorgos_lanthimos_
Set Decoration by @prue.howard

👉🏼 Watch the full video podcast — LINK IN BIO

🎧 Also available on all usual podcast platforms.
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#filmandfurniture #Podcast #YorgosLanthimos #Bugonia #EmmaStone FilmDesign ProductionDesign SetDecoration film movies cinema filmset design
furniture furnituredesign interiors
interiordesign

Michelle’s (Emma Stone) house in Bugonia is… a lot

🎧 The Design of Bugonia: Conspiracy, Chaos and Ali

🎧 The Design of Bugonia: Conspiracy, Chaos and Alien Logic

In our latest episode of The Film and Furniture Podcast, host Paula Benson sits down with Bugonia production designer James Price (@jamesroberternestprice) to unpack the unsettling visual world of Yorgos Lanthimos’s Bugonia. This one is for true film obsessives: unapologetically nerdy and endlessly illuminating, it goes far beyond surface aesthetics to explore how furniture, design and architecture shape the film’s gloriously bonkers logic.

👉 Watch the full video podcast now — LINK IN BIO

BUGONIA is now streaming on key platforms and has received multiple nominations in the Critics’ Choice Awards, Golden Globes, and nominations for production design and set decoration in the SDSA (Set Decorators Society of America) Awards and the BFDG (British
Film Designers Guild) Awards.

With thanks to @focusfeatures
Set Decoration by @prue.howard

filmdesign productiondesign podcast film movies interiordesign furniture design

This time of year has a strange elasticity to it.

This time of year has a strange elasticity to it. The calendar insists we’re moving forward, yet everything feels suspended — days blur, routines soften, time stretches and contracts. Winter lingers, the light never quite settles, and reality feels slightly misaligned. It’s a season that makes ordinary life feel faintly unreal.

Which brings us to Eraserhead.

David Lynch’s 1977 debut exists in a world where time doesn’t behave properly. Days and nights slip into one another, spaces feel unfinished, and domestic interiors become sites of low-level dread. Shot in stark black and white, the film transforms rooms, corridors and radiators into psychological landscapes — places where anxiety seeps into the architecture itself.

Henry Spencer’s apartment is barely a home at all: a boxy, industrial shell filled with humming machinery, rough textures and oppressive silence. Furniture is minimal, functional, almost incidental. What should offer comfort instead amplifies isolation. In Eraserhead, interiors unmoor us.

Like this stretch of the year, the film resists resolution. Nothing quite resets. Time loops, stretches, stalls.

A reminder that not all seasons — or spaces — are designed for clarity. Some exist simply to be endured.

Happy New Year! 😂

🎬 💡 📧 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!
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It may be Dry January for many — but never ones to

It may be Dry January for many — but never ones to follow the crowd, we’re taking a different route. Instead, let’s look at Mrs Robinson’s bar in The Graduate: a Film and Furniture favourite, and one of cinema’s great expressions of 1960s aspirational living.

Separated by glass walls and framed by lush greenery beyond, the bar is a drama in monochrome. White bar stools sit in crisp contrast to relaxed black leather armchairs with slender metal legs. It’s controlled, stylish, and faintly performative — a space designed to impress rather than to comfort.

The bar itself is dressed like a stage set for a professional drinker intent on making an impression. A black and white bar sign takes pride of place, joined by a black ice bucket, oversized decorative bottles, an ornate silver cocktail shaker, a black Bakelite telephone and, of course, zebra print — from cigarette lighter to throw. Every object reinforces the same message: sophistication edged with excess.

This is entirely in keeping with Mrs Robinson, played with cool, predatory assurance by Anne Bancroft, whose control of space mirrors her control of the men around her — not least Dustin Hoffman’s adrift Benjamin Braddock. Under the direction of Mike Nichols, whose work on The Graduate earned him the Academy Award for Best Director, interiors are never neutral; they sharpen character and mood.

Beyond the bar, the house continues this visual rhythm — black floors, stair rail and banister set against white walls, finished with a dramatic chandelier. Luxury, yes — but also carefully curated and emotionally cool.

A reminder that in The Graduate, interiors don’t just look good. They tell us exactly who these people are.

🎬 💡 📧 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!
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