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Auguste Lumière and Louis Lumière

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La Sortie de l’Usine Lumière à Lyon

La Sortie de l’Usine Lumière à Lyon

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Directed by Daniel Roher and starring Leo Woodall

Directed by Daniel Roher and starring Leo Woodall alongside Dustin Hoffman, Tuner looks set to give us plenty of beautiful pianos, alongside wealthy Manhattan homes to gawp at.

Production designer Peter Cosco contrasts this with a piano workshop full of dark woods, ageing tools, exposed piano mechanics.

Then there are the vaults and safes, which appear almost as carefully designed as the instruments themselves.

The film seems fascinated by beautifully engineered objects and the strange intimacy between sound, precision and touch.

Expect echoing mansions, shadowy recital spaces, gleaming black lacquer and rooms designed with the care of a perfectly tuned instrument.

Tuner releases in limited theatres in the USA on 22 May 2026, before expanding nationwide and in the UK on 29 May 2026.

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Moss & Freud takes us inside one of the most uncom

Moss & Freud takes us inside one of the most uncompromising creative spaces in modern British art.

Starring Derek Jacobi as Lucian Freud and Ellie Bamber as Kate Moss, the film is set in early-2000s London. Lucian Freud’s Holland Park studio is recreated with remarkable attention to detail. Paint-smeared walls. Cluttered floors. Harsh lighting. Furniture arranged purely for function. A space built around endurance, ritual and observation.

The contrast between Freud’s raw studio and Kate Moss’s glossy fashion world becomes a fascinating design tension. Paparazzi flashes, fashion shoots and early-noughties celebrity culture collide with a space that's stubbornly physical and very private.

Production designer Miranda Rivers and the wider set team lean into texture throughout. Torn surfaces, worn furniture and layers of paint create a tactile realism.

Freud’s former assistant David Dawson advised on the production, and even provided the hands seen in close-up painting sequences.

Released in UK cinemas on 29 May 2026.
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Spider-Noir looks like someone fed 1930s noir cine

Spider-Noir looks like someone fed 1930s noir cinema, pulp detective fiction and Marvel comics through a smoky Art Deco nightclub. And we like it!

The new Prime Video series starring Nicolas Cage as an ageing private investigator, Spider-Noir leans hard into shadow-heavy blinds, fringed cabaret lamps, geometric patterns, striped silk sofas, dark wood furniture and comic-book framing.

What makes the production design particularly fascinating is that the series has been created in both black and white and colour versions simultaneously. Every set, material and lighting decision had to work in two completely different visual worlds at once.

Recurring reds and greens appear throughout the colour version, while sharp angles, and noir shadows pull directly from classic detective cinema and the original comics.

Production Designer | Warren Alan Young @warrenalanyoungcreates
Set Decorator | Halina Siwolop

Spider-Noir launches on @primevideo May 27.
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68 years ago this month, Jacques Tati released Mon

68 years ago this month, Jacques Tati released Mon Oncle, a film that turned modern furniture, gadgets and architecture into one of cinema’s sharpest visual jokes.

Villa Arpel remains one of the great houses of film. A pristine modernist playground of geometric pathways, circular portholes, buzzing appliances and furniture so sculptural it barely seems designed for human bodies. The famous green sofa looks more like an art installation than somewhere to sit. Even the fish fountain only performs for important guests.

Tati understood something many films still miss: furniture changes behaviour. In Mon Oncle, every object is part of the comedy.

And yet the film never mocks design entirely. Beneath the satire sits real affection for modernism, colour, shape and invention. Watching it now, with our smart homes, curated interiors and obsession with appearance, Mon Oncle feels less like nostalgia and more like prophecy.

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46 years ago this week, Stanley Kubrick’s The Shin

46 years ago this week, Stanley Kubrick’s The Shining was released in the USA.

A film that terrified audiences, reshaped psychological horror, and for us at Film and Furniture, sparked a fascination with cinematic interiors and the hidden storytelling power of design.

Almost every element of the Overlook Hotel was designed to unsettle. Vast corridors stretch too long. Geometric carpets dominate the frame. The Overlook feels believable enough to exist, yet wrong enough to leave you uneasy.

And then there are the carpets.

The Hicks Hexagon corridor carpet, the Room 237 design and the Gold Room pattern have become some of the most recognisable flooring designs in cinema history. Their repeating geometry creates movement, tension and disorientation, especially during Danny Torrance’s Big Wheel journeys through the hotel.

Extraordinary to think that one carpet helped launch Film and Furniture itself. Years ago, people constantly asked us where they could buy it. That curiosity eventually led us to offer OFFICIALLY LICENSED versions of the Hicks Hexagon carpet and rugs ourselves, later joined by the Room 237 and Gold Room designs, allowing film lovers and design enthusiasts to bring a piece of the Overlook home.

Few films have fused cinema and interior design so completely. In The Shining, furniture, carpets, lighting and architecture are never background decoration. They are part of the horror.

And honestly, no corridor carpet has ever had a better career.

HAPPY ANNIVERSARY TO THE SHINING 🪓

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More furniture moments from Euphoria Season 3 (see

More furniture moments from Euphoria Season 3 (see also prev. post)

Cassie and Nate’s oversized, chintz-drenched LA house. Lexi’s apartment. Jules and Maddy’s artist studio. The Mexico border. Interiors here are pushed to full throttle.

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PD: François Audouy @audouy

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