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Miller’s Girl

Director: Jade Halley Bartlett

Production Designer: Cheyenne Ford

Set Decorator: Katie Laxton

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From Instagram

Mother Mary – you have our attention. Not seen it

Mother Mary – you have our attention.

Not seen it yet, but the trailer alone gives us spaces that feel CHARGED.

Anne Hathaway plays a global pop star returning to the spotlight, reconnecting with her former collaborator, a designer played by Michaela Coel.

The settings move between extremes. A vast, barn-like workspace where the comeback dress is conceived. Raw and almost monastic. According to production details, this space was built and shot in a real agricultural barn (in Germany), its timber frame and soaring height left largely exposed. It gives the scene a sense of honesty and scale, where fabric, fittings and process take centre stage.

Then the shift. Grand Stage sets built for performance - theatrical environments shaped by the language of arena tours. Persona becomes architecture. The spaces feel engineered for wow factor and scrutiny in equal measure.

Across both, David Lowery leans into a gothic visual language. Religious references meet pop culture, giving the interiors a sense of ceremony with an undercurrent of unease.

The emotional thread comes from something unexpectedly visceral. Lowery has spoken about a cracked tooth and its extraction, a moment of intense pain followed by sudden release. That sensation became a guiding idea for the film.

As he puts it: “This pain… matched the immensity of what I wanted to evoke.”

Mother Mary from @a24 is in cinemas now.
Production designer: Francesca Di Motolla @fran_mottola
Set Dec: @lottsmax1m1xx

Find furniture from film at FilmandFurniture.com (link in bio)

#filmandfurniture #film #interiordesign #mothermarymovie

Breakfast at Tiffany’s: Two apartments. Two ways o

Breakfast at Tiffany’s: Two apartments. Two ways of living.

Holly Golightly’s brownstone is improvised and in flux. A claw-foot bath turned sofa. Stacked suitcases. A crate for a coffee table. There is a kind of early shabby chic at play here. Glamour flickers through the space, but nothing feels permanent.

Upstairs, Paul Varjak’s apartment is the opposite. Ordered, decorated, and already decided. Furnished by his wealthy lover, it is full of gilded details, damask and careful arrangement. Comfortable, but not entirely his.

Between them, linked by a narrow fire escape, these spaces define how they move through the world. Holly gathers and reinvents. Paul lives in what has been arranged for him.

Design reveals their true identity.

Which space feels more like home to you?

#filmandfurniture #AudreyHepburn #GeorgePeppard

Designers in Film No. 4: Verner Panton Verner Pan

Designers in Film No. 4: Verner Panton

Verner Panton brought a sense of play to modernism. Colour, curves, and a willingness to push materials further than most of his contemporaries dared. His work feels optimistic, sometimes psychedelic. Film and TV return to it for that reason.

The Fun Shell Lamps (from 1964). Cascades of mother-of-pearl discs that catch the light and move with the room. In On Her Majesty’s Secret Service, they hang in Blofeld’s alpine lair.

The Panthella Table Lamp (1971). A lesson in softness. Both base and shade act as reflectors, casting a warm, diffused glow. Seen in The Devil Wears Prada, The Playlist, Me Without You, and Fantastic Four: First Steps. It brings a gentle, sculptural presence to interiors. The Panthella Floor Lamp also appears in The Fantastic Four: First Steps, as well as Conversations With Friends and Killing Eve.

The Flowerpot (1968) pendant light. Two simple spheres, perfectly balanced. Designed at the height of the late-sixties mood shift, it carries that spirit. You’ll spot it in the Bond movie On Her Majesty’s Secret Service, in Conversations with Friends, and in The Room Next Door. It's sister the Flowerpot table lamp appears in Ted Lasso and After The Hunt.

The Pantonova System (1971). Wireframe seating that feels almost weightless. Modular and fluid. Used in The Spy Who Loved Me within Ken Adam’s futuristic interiors.

The Living Tower (1969). Over two metres high, designed for sitting, reclining, gathering. Seen in It’s What’s Inside, where it invites interaction.

What runs through all of it is Panton’s belief in experience. Furniture that invites you to sit differently, lighting that shapes mood as much as it illuminates. Directors and designers lean on that instinct.

👀 Where have you spotted Verner Panton designs on screen?

🛍️ Find all these pieces and other furniture from film in our marketplace at FilmandFurniture.com (link in bio). We do the sourcing so you don’t have to.
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#filmandfurniture #VernerPanton #OnHerMajestysSecretService #TheSpyWhoLovedMe #TheDevilWearsPrada #FantasticFourFirstSteps #ProductionDesign #SetDec #film #interiordesign #lighting

In Beef S2, Lindsay (Carey Mulligan) and Joshua’s

In Beef S2, Lindsay (Carey Mulligan) and Joshua’s Ojai house has been in a years-long renovation that never quite lands. Sound familiar?

The living room is the only fully resolved space. Everything else waits its turn. Covered surfaces, unfinished walls, a sense of a project paused mid-thought.

Lindsay fills that gap with decoration. She harbours a bit of an obsession with velvet furnishings. Velvets, fringes, layers of fabric and texture build across the rooms. Pieces that don’t quite find a place at the country club end up here instead. The house becomes an extension of her work, and her thinking.

Then the moment that says it all. She’s sitting on the floor, surrounded by a sea of cushions. It's kind of funny, but then it then lingers. The volume of objects begins to close in.

Across town, Chairwoman Park’s world moves in a very different direction.

Her coastal home is pared back and exacting. Silver, grey and black define the palette. Surfaces are clean, spaces are open.

Where one home gathers and layers, the other edits and communicates a need for authority.

Both reveal how people shape their environments around them, and how those environments shape them in return.

🛍️ 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 #CharlesMelton #CaileeSpaeny #ProductionDesign #SetDecoration #InteriorDesign #FilmDesign #Netflix #Beef #DesignInFilm

❤️‍🔥 🪑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

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