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Asteria Table Lamp

Asteria Table Lamp

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Directors: Seth Rogen, Evan Goldberg

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A sofa that deserves gawping at. Designed by Ubal

A sofa that deserves gawping at.

Designed by Ubald Klug for De Sede in 1972, the DS-1025 Terrazza is less a sofa and more a landscape. Its stepped, modular form invites you to sit, recline, sprawl, or simply occupy it like a piece of terrain.

And nowhere does this feel more at home than in Logan’s Run (1976) - see slides 1.2&3 - the dystopian sci-fi film set in a 23rd-century domed city where residents live a hedonistic life, but must be executed at age 30 through a ritual called "Carousel" to manage population. The Terrazza fits seamlessly into this world. Its undulating tiers echo the film’s fascination with artificial landscapes and curated living. It also looks damn cool.

It also appears in the TV series Star Maidens (1976) - see pic 4) where its terraced form reinforces that same off-world, slightly surreal domesticity. And for fans of The Goodies, it turns up in their 2001: A Space Odyssey parody - 2001 and a Bit (1976) - also pic 4

More recently, we spotted it in HIM (2005) - see slide 5 - in a scene filmed at Spaceport America. A rather perfect setting. The Terrazza has always felt like it belongs somewhere just beyond the everyday.

🎬 💡 Curious to see more furniture that’s stolen the scene?
Explore FilmandFurniture.com or join our newsletter for regular Film and Furniture finds (🔗 LINKS IN BIO)

What happens when film and interiors collide? At

What happens when film and interiors collide?

At the Vitra Design Museum, Paula Benson, founder and editor of Film and Furniture, was asked a simple question: what is Film and Furniture?

Her answer reveals a perspective that shifts how we watch film.

Because in Film and Furniture’s world, furniture and decor is never just background. It defines character before a single line is spoken. It signals taste, ambition, control, even illusion.

Film and Furniture explores the pieces behind the scenes. The chairs, the carpets, the lamps, the rooms that shape the story. Tracing their origins, their designers, and where they can be found beyond the screen.

Great design doesn’t end when the credits roll.
It lives on in our homes.

🎬 💡 📧 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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Set against the backdrop of 18th-century England,

Set against the backdrop of 18th-century England, a devastating pox outbreak and the Jacobite uprising, Savage House is a darkly satirical take on Sir Chauncey Savage (Grant) and Lady Savage’s (Foy) blind pursuit of a better life. There’s a certain irony in
the name. This is a Savage House indeed.

The film is anchored by Montacute House in Somerset. An Elizabethan prodigy house completed around 1601, all symmetry, pale stone and impeccable proportions. Yet this is a story filled with duels, decadence and bloodshed. A madcap play on class and power.

A grand house… with a sense of humour.

Formal dining rooms glow with candlelight. Long tables laid with precision. Portraits looking on as if nothing could ever go wrong. Of course, everything does.

There are smaller, darker rooms too. Card tables, writing desks, chairs pulled in close. Spaces for plotting, misjudgement, and very bad decisions dressed up as good ones.

Staircases, columns, checkerboard floors. Grand, yes, but slightly theatrical.

And outside, those perfectly ordered lawns and terraces only heighten the irony. All that control, all that structure… hosting complete chaos.

Expect interiors that look correct on paper. Dark woods, symmetry, polished surfaces. Then unravelling, spectacularly.

🎬 Savage House is in UK cinemas June 5

🔗 Find more on interiors in film at FilmandFurniture.com – link in bio

What a show stopper! The Pipistrello, designed by

What a show stopper! The Pipistrello, designed by Gae Aulenti in 1965 and produced by Martinelli Luce, has long held cult status. There’s a sculptural drama to it.

The telescopic base allows the height to shift, taking it from table lamp to something closer to a small floor piece. The shade, in opal methacrylate, opens into four softly curved sections, diffusing light evenly while giving the piece its distinctive silhouette. Often described as palm-like, but the name tells a different story. Pipistrello means ‘bat’.

On screen, it slips seamlessly between worlds:-

In Pain and Glory, directed by Pedro Almodóvar, it sits within Salvador Mallo’s apartment, part of a richly layered and colourful interior.
In The Batman, it appears in the Iceberg Lounge, Penguin’s domain. Here, it takes on a different energy altogether. Sleeker, moodier, entirely at home in Gotham’s shadows.

The Pipistrello is available in UK from @hollowaysofludlow

🎬 Find more furniture and lighting from films at FilmandFurniture.com
🔗 Link in bio

Nothing better than a beaten-up old leather chair…

Nothing better than a beaten-up old leather chair… and a room thick with tension.

In these images from Peaky Blinders: The Immortal Man, it’s Barry Keoghan who takes the chair, and with it, the room. Still but loaded.

And what a chair. Deeply worn leather, creased and patinated to within an inch of its life. Studded edges, softened arms, the sort of piece that has absorbed years of deals, betrayals, and quiet reckonings. You don’t style a chair like this. You inherit it.

Cillian Murphy returns as Tommy Shelby, drawn back into a world closing in on itself.
And in a more intimate moment, Rebecca Ferguson leans in close, the lighting soft but the atmosphere anything but.

Set in Birmingham, 1940, with war pressing in, everything is pared back.

Directed by Tom Harper and written by Steven Knight, the film leans into that dark mood.

@peakyblinders The Immortal Man was released globally on @netflix on 20 March 2026.

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A few wows were let out loud this week. The first

A few wows were let out loud this week. The first teaser for Dune: Part Three has landed, and it’s already offering up some truly arresting scenes. If what we’re seeing is anything to go by, this feels like a different chapter. Seventeen years on, Arrakis appears altered. Expanded. Possibly even civilised in ways that feel… slightly unnerving. There are glimpses of new worlds, new architectures, and a scale that seems to push beyond the elemental.

Of course, it’s early days. Teasers are designed to intrigue rather than explain. But there’s a sense here that the story is no longer about rise, but about consequence.

What we do know is that production designer Patrice Vermette @patrice_vermette and set decorator Shane Vieau @perro1324 return. Which, frankly, is reason enough to pay attention. Their work across the first two films gave Dune its weight. Those interiors weren’t just vast. They felt lived-in, ritualistic, and politically charged.

Did you catch the trailer? What stood out to you?

and if you're needing some behind the scenes Dune action, don't forget you can see our deep dive into Dune: Part Two with Patrice and Shane over on our video podcast (link in bio)

@dunemovie is out Dec 2026

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