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For lovers of design + film: Find interiors inspiration and buy the furniture/décor/homeware you spot in films + TV.
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FURNITURE, LIGHTING AND DECOR WITH A STORY TO TELL. Fascinating facts about the furniture and decor you spot in your favourite films - with details on where to buy them. In our world, the furniture is the star! www.filmandfurniture.com

27/05/2026

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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25/05/2026

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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23/05/2026

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
Set Decorator | Halina Siwolop

Spider-Noir launches on May 27.

22/05/2026

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.

🎬 💡 Love film design, interiors and the hidden stories behind what you see on screen? Join our newsletter community for bi-weekly inspiration, exclusive features and furniture discoveries from the worlds of cinema and television.

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21/05/2026

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 🪓

🛍️ Order yours or request a custom quote via the LINK in bio.

18/05/2026

Some furniture moments from Euphoria Season 3

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

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PD: François Audouy

17/05/2026

LOVED The Christophers. And LOVED the house.

Directed by Steven Soderbergh, The Christophers follows an ageing artist and his assistant hired by his opportunistic children to track down his valuable unfinished canvases.

Julian Sklar’s house is the film’s main stage, and it more than earns the role. The exterior was shot in Fitzroy Square, with its Robert Adam pedigree, while the interiors were built on set by merging two conjoined townhouses. The result is layered, beautifully atmospheric, fully convincing, authentically set dressed and brilliantly lit.

Among the eclectic, lived-in mix of furniture and ephemera, look out for the Jieldé Signal lamp, originally designed in 1950, its industrial feel lending a focused, almost obsessive energy to Sklar’s painting process. Then there’s that zingy orange Anglepoise on Lori’s desk in her own artist home.

Ian McKellen () is on blistering form, delivering Ed Solomon’s lines with wit and dryness, alongside .

And a small personal thrill: spotting the very same bench still holding court at The Griffin pub in Shoreditch, where many early 2000s evenings were spent.

👉🏼 Find furniture and lighting in film at FilmandFurniture.com (link in bio)

🎬 is in cinemas now.
📽️

🖌️PD: Antonia Lowe .lowe5
🪑SD: Kimmy Hussey

16/05/2026

Never trust a cheap furniture showroom.

The Backrooms (releasing in cinemas around May 29) is an A24 horror directed by Kane Parsons (), expanding his viral “found footage” YouTube series into something far more spatially ambitious.

There’s been plenty of talk around liminal spaces recently. This takes the idea and pushes it into full psychological horror.

A therapist (Renate Reinsve) searches for her missing patient (Chiwetel Ejiofor), a failed architect who discovers a portal hidden inside a low-rent furniture warehouse. It opens into the Backrooms. An endless interior of yellowed offices and looping corridors with no clear logic and no exit.

The “mono-yellow” palette does much of the heavy lifting. Walls are wrapped in aged yellow-beige wallpaper, lit by relentless fluorescent grids that flatten everything into the same uneasy tone. Familiar, but wrong.

Furniture becomes the real storyteller. Mismatched 1980s armchairs, generic desks and solitary tables appear stranded in vast, empty rooms. Elsewhere, dressers, shelving and office units are flipped, stacked or jammed together into crude barricades. It feels less like arrangement and more like residue. Fragments of memory dragged into place and left to harden.

This is where the film lands. Not through spectacle, but through the slow realisation that these interiors are built from things we recognise. The kind of pieces you pass every day without thinking. Until they start to look back.

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Production Design:
Set Dec:

13/05/2026

Let's reflect a little more on Mother Mary – the details are doing a lot of work.

Anne Hathaway leads, with Michaela Coel as Sam Anselm, and these interiors tell you exactly who they are.

Start in the mirrored dressing room. Repetition, reflection, performance. The production design leans into mirrored surfaces and extensive lighting rigs to build a textured, immersive environment. Rows of transparent folding chairs and Hollywood Regency lucite and brass trolleys sit almost invisibly within the space, letting the lights, costumes and bodies take over.

Then into Sam’s bedroom. A very different register. A tall, cane-backed chair holds the corner with a kind of upright posture, while an eighteenth-century mirror hangs above, catching fragments of the room and turning them back on her. It’s a space about introspection.

Look closer and the layering builds. Mid-century acrylic candlesticks on the bedside table, picking up the light. A low, weighty table grounding the room. Handmade sculptural candle stands near the fireplace, almost ceremonial in their presence.

And then the atelier parlour. A compact Swedish oak cabinet with a strict geometric front sits in the background. Ordered, controlled, composed. A counterpoint to the emotional volatility playing out around it.

Even the bed matters. Solid, architectural, almost severe. It holds the scene in place when everything else feels uncertain.

We have the low-down every one of these pieces.

Not naming them here.
Head to FilmandFurniture.com (link in bio) to see exactly what they are and where to find them (Search 'Mother Mary')

With big thanks and bravo to Set Dec:
Mother Mary from is in cinemas now
Production designer: Francesca Di Motolla

11/05/2026

What’s the significance of the Carlo Bugatti chair in Alien Covenant?

Alien: Covenant has enough aliens, spaceships and gore to keep most cinema-goers entertained, yet there’s a philosophical thread running through it: creativity.

The film opens with Weyland Corp’s synthetic David seated in a Carlo Bugatti Throne Chair beside an E1027 Side Table.

As he speaks to his creator Peter Weyland, he lists the objects in the room: the Bugatti chair, a Steinway piano, The Nativity, and David. Each a benchmark of artistic and design achievement.

The film closes with Das Rheingold, and in between, the aliens have… evolved.

So back to that chair.

Designed by Carlo Bugatti in 1905, the Throne Chair is deliberately unconventional. Walnut, copper, pewter, vellum. Influences drawn from Gothic, Japanese and Islamic traditions. It rejects standardisation and celebrates individuality at a time when industrial production was taking hold.

Bugatti pushed against uniformity. He created something entirely his own.

Placed in this pristine, futuristic setting, the chair becomes more than decoration. Its almost animal-like form mirrors David’s fascination with anatomy and experimentation, which unfolds as the story progresses.

Then there’s the pairing. The precision of Eileen Gray’s E1027 table, all tubular steel and glass, sits beside Bugatti’s expressive craftsmanship. Two opposing approaches, both intent on redefining design.

That contrast is the point.

This opening scene sets up a question that runs through the film: what does it mean to create? And what happens when the creation decides to go further than its maker?

And if, after all that, you need a cup of tea, take your cue from David, who serves it from a Rosenthal Form 2000 tea pot.

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

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