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futuristic

2001 A Space Odyssey – a close look at those fabulously futuristic Djinn chairs and how Kubrick’s vision of the future was brought to life through ‘product placement’.
Feature: 30 Apr 2014

2001 A Space Odyssey – a close look at those fabulously futuristic Djinn chairs and how Kubrick’s vision of the future was brought to life through ‘product placement’.

Those red chairs! Whose...

  • Features
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    • Events/Exhibitions
    • Resources
  • Marketplace
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    • Films & TV
    • Books & Mags
    • Recommended Retailers
    • The Shining carpet and rugs request form
  • Films+TV
  • About
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From Instagram
🚪 Backrooms has escaped from the cinema. When we 🚪 Backrooms has escaped from the cinema.

When we first saw BACKROOMS back in June, we called it “the furniture film of the year”.

Three months, a torrent of reviews, theories and Backrooms obsession later, we’re standing by it.

Now available to rent or buy digitally in the UK, and landing on HBO Max in the US tomorrow, 25 September, there’s another chance to enter Kane Parsons’ unnerving world of endless corridors, dead shopping malls, fluorescent lighting and furniture that's arranged in the spookiest of ways.

Production designer Danny Vermette and his team constructed more than 30,000 square feet of practical Backrooms sets across four sound stages, creating spaces filled with ladder-back chairs disappearing through floors, lonely sofas, moulded plastic seating, abandoned cabinets, lamps, televisions, yellow wallpaper and, of course, one VERY large pile of furniture.

Then there’s Cap’n Clark’s Ottoman Empire, the bargain furniture showroom beneath which Chiwetel Ejiofor’s Clark discovers a portal to another reality.

Frankly, with a name like that, he was asking for trouble.

The film has become one of the big horror talking points of 2026, with critics praising the strange, disorientating world Parsons and the design team have created.

For us, the production design remains the star.

Read our deep dive into the furniture, interiors, wallpaper, impossible architecture and making of BACKROOMS at Film and Furniture. 
🔗 Link in bio.

Have you seen it yet? And more importantly: would you buy anything from Cap’n Clark’s Ottoman Empire?

#Backrooms #KaneParsons #A24 #ProductionDesign #SetDecoration #FilmInteriors #HorrorMovies #FilmAndFurniture
🎬 GIVEAWAY: WIN TICKETS TO SEE HIGH-RISE FROM A HI 🎬 GIVEAWAY: WIN TICKETS TO SEE HIGH-RISE FROM A HIGH-RISE! 🏢

One for the architecture and film lovers...

We’ve teamed up with @rebelreelcineclub to give one lucky Film and Furniture follower a pair of tickets to a very special screening of Ben Wheatley’s High-Rise on Thursday 1 October.

And the location could hardly be more appropriate.

The film will be shown on the terrace of Space House in central London, the extraordinary Grade II-listed 1960s office complex designed by Richard Seifert & Partners, with George Marsh as partner-in-charge. Built between 1964 and 1968, its sculptural precast-concrete grid made it one of the most distinctive commercial buildings of its period. Historic England describes Space House as one of London’s best speculative office buildings and highlights both its architectural and technical significance. 

Before High-Rise, there’ll be a DJ set plus a screening of Ines Weizman’s short film A Brief History of the Elevator Pitch.

Then settle in beneath the London skyline for J.G. Ballard’s tale of high-rise living descending into chaos, starring Tom Hiddleston, Jeremy Irons and Sienna Miller.

📍 Space House, One Kemble Street, London WC2B
📅 Thursday 1 October
🕡 From 6.30pm

TO ENTER:
👉🏼 Head to the link in our bio and enter your details.

Entries close 2pm BST, Sunday 27 September.

Good luck! 🍿🏢

And if you miss out on the prize, or simply don’t want to leave it to chance, head to @rebelreelcineclub to book tickets

#giveaway #screening #architecture #london
Venice 2026 has wrapped, and we’ve been looking at Venice 2026 has wrapped, and we’ve been looking at the interiors. No surprises there then!

Among the films that caught our eye at this year’s Venice Film Festival are stories in which architecture, domestic space and production design appear to have rather a lot to say about wealth, class, family and power.

PIC 1: Hombre al Agua
Gael García Bernal’s new film follows Camilo, a Cuban lifeguard who saves a wealthy Mexican businessman from drowning and is drawn into his family and a very different social world. The interiors already have us intrigued, particularly the richly layered, tropical setting pictured here.
Production Designer: Sandra Cabriada.

PICS 2 & 3: Woman Unknown
Winner of the Golden Lion, May el-Toukhy’s post-war Danish drama follows Marie, a young housemaid preparing to marry the wealthy widower she works for. That shift in status makes the home itself especially interesting, and these first images suggest some beautiful period interiors, from dark timber panelling and formal entertaining spaces to the more austere domestic world around Marie.
Production Designer: Sabine Hviid.

PIC 4: Bunker
Florian Zeller’s drama stars Javier Bardem as an architect commissioned to build a survival bunker for a tech billionaire, while Penélope Cruz plays his wife. With architecture at the centre of the story, this one went straight onto the Film and Furniture watchlist.
Production Designer: Alain Bainée
Set Decorator: Angela Nahum.

PIC 5: The Spiral (L’estranea)
Paolo Strippoli’s Italian family horror moves between Rome and Bari as a mother reveals that the family’s apparently prosperous life has been built around a terrible secret. The first images give us grand villas, warm wood, candlelight and increasingly ominous domestic spaces. Very much our sort of horror.
Production Designer: Marcello Di Carlo.

Four very different films, four very different visual worlds, and plenty for us to investigate as they reach cinemas.

Which one would you most like us to take a closer look at?

#VeniceFilmFestival #Venezia83 #ProductionDesign #SetDecoration #FilmInteriors #SetDesign #HombreAlAgua #WomanUnknown #Bunker #TheSpiral #FilmAndFurniture
Her Private Hell, the new film from Nicolas Windin Her Private Hell, the new film from Nicolas Winding Refn, looks like a full-throttle feast of colour, light and design.

The trailer moves through neon blues, hot pinks and deep amber tones, with interiors ranging from a glamorous sunken lounge and mirrored dressing room to richly patterned bedrooms, theatrical fashion spaces and a gloriously retro-futurist spaceship set.

There are some wonderful details too: globe lamps, shimmering drapery, chrome, curved forms, lacquered surfaces and a transparent egg chair sitting at the centre of the spaceship set like a piece of futuristic furniture fantasy.

👀 We’ve already spotted some exact design details from the film.

You can find the exact wallpaper from Her Private Hell in the Film and Furniture Marketplace now. 
🔗 Link in bio.

@herprivatehellfilm stars Sophie Thatcher, Charles Melton, Kristine Froseth, Havana Rose Liu, Diego Calva and Dougray Scott, Her Private Hell arrives in UK and Irish cinemas on 25 September 2026 via @mubi

Production design is by Gitte Malling, with set decoration by Vicki Møllgaard and Simone Sparsø.

#FilmAndFurniture #HerPrivateHell #NicolasWindingRefn #MUBI #SophieThatcher #ProductionDesign #SetDecoration
Sunday Sofas: Sofas in Film and TV No.9 - The Cont Sunday Sofas: Sofas in Film and TV No.9 - The Contemporary Edition 🛋️

If you want to know who a character really is, take a long look at their sofa.
It can tell you their bank balance, taste, ambitions, relationships and occasionally how close their life is to falling apart.

In Materialists and Anora, sofas are part of the language of wealth: expansive, expensive-looking and made for sprawling. Parasite uses the immaculate Park house and its carefully arranged furniture to sharpen the divide between comfort and precarity.

The Sandman goes sculptural and cloud-like, while The Skin I Live In turns a green sofa into something unnerving. In Leaving the World Behind, the handsome holiday home initially promises comfort, before every beautifully furnished room starts to way less reassuring.

Challengers gives us polished hotel-suite neutrality, while Beautiful Boy and Marriage Story bring us back to familiar domestic sofas absorbing a considerable amount of emotional fallout.

Then there are The Square and Arrival, where furniture sits within spaces in which architecture, art and landscape do just as much storytelling as the people.

Which one would you actually want at home?

🔎 Find furniture and décor from film and TV at filmandfurniture.com
🔗 Link in bio.

Stay tuned for more Sunday Sofas...

Materialists (2025)
D: Celine Song | PD: Anthony Gasparro | SD: Amy Beth Silver @amybethsilver 

Anora (2024)
D: Sean Baker | PD: Stephen Phelps | SD: Christopher Phelps

The Sandman (S2)
PD: @jongarysteele | SD: @lizsetdecuk 

The Skin I Live In (2011)
D: Pedro Almodóvar | PD: Antxón Gómez | SD:  @vicentdiaz 

Parasite (2019)
D: Bong Joon Ho | PD: Lee Ha-jun | SD: Won-woo Cho

Leaving the World Behind (2023)
D: Sam Esmail | PD: Anastasia White | SD: @dbschlesinger 

The Square (2017)
D: Ruben Östlund | PD: Josefin Åsberg

Arrival (2016)
D: Denis Villeneuve | PD: @patrice_vermette 

Challengers (2024)
D: Luca Guadagnino | PD: Merissa Lombardo | SD: @jessroyal 

Beautiful Boy (2018)
D: Felix van Groeningen | PD: Ethan Tobman | SD: Jennifer Lukehart

Marriage Story (2019)
D: Noah Baumbach | PD: @jadeheals | SD: Lizzie Boyle, Adam Willis
From London to Berlin and Madrid: 4 more film apar From London to Berlin and Madrid: 4 more film apartments where the furniture tells the story.

In Berlin, Lydia Tár has extremely sharp taste. Her interiors combine concrete, natural materials and some formidable furniture, including Marc Sadler’s Twiggy Floor Lamp, Warren Platner chairs and Harry Bertoia’s Bench, put to the entirely sensible use of stacking books.

Joanna Hogg’s The Souvenir takes us to a very different London home. Julie’s Knightsbridge duplex was reconstructed from Hogg’s own memories, photographs and possessions, beginning as the bright working home of a young filmmaker before the décor gradually changes as Anthony’s influence takes hold.

In The Father, furniture has a rather unsettling job. As Anthony's perception becomes increasingly unreliable, walls change colour, sofas and pictures disappear and rooms subtly transform around him. Among the designs we spotted are Arne Jacobsen’s Series 7 Chair and George Nelson’s Bubble Saucer pendant.

And finally Madrid. Salvador Mallo’s gloriously art-filled apartment in Pedro Almodóvar’s Pain and Glory is crammed with books, ceramics, paintings, furniture and colour, including Gae Aulenti’s fabulous Pipistrello Lamp.

There are lessons worth stealing from all of them: mix periods, let books speak from the shelves, buy a good lamp, embrace colour and allow a vintage find to sit beside a modern design classic.

We explore the apartments and show you where to find many of the pieces for your own home in our feature created in partnership with @HollowaysofLudlow.

Read the full feature "10 film apartments to fall in love with, and where to find the furniture and décor for your own home” at FilmandFurniture.com
🔗 Link in bio.
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