When a director chooses a location, the camera does more than capture story—it also creates a visual catalogue for architects, decorators and brand strategists. Certain movies have become reference books for anyone seeking fresh ideas for homes, hotels, restaurants or retail spaces. Below we unpack five films whose interiors have turned into design textbooks, illustrate a recent pop-culture thriller that split critics, and announce a new production partnership that could shape next-season television.
Film sets that have become interior-design textbooks
Alfred Hitchcock’s “To Catch a Thief” (1955) transports viewers to the Côte d’Azur, where the Hotel Carlton’s molded wall panels and the villa’s terraced gardens embody a French elegance that still informs luxury-resort aesthetics. Designer Betsy Kasha notes the “classic elegance of the wall mouldings” and the “simple elegance of the interior” in John Robie’s hillside retreat as enduring sources of inspiration for contemporary upscale projects.
“Auntie Mame” (1958) showcases a Manhattan duplex that morphs through six distinct style periods—from Chinese motifs to Danish Modern—mirroring the protagonist’s flamboyant personality. The film’s fearless mix of eras demonstrates how bold colour palettes and eclectic furniture can coexist without chaos, a lesson many decorators cite when advising clients who love drama.
“Fatal Attraction” (1987) offers a study in character-driven space. Glenn Close’s industrial loft, with exposed brick, oversized windows and muted furnishings, feels both seductive and austere, echoing the novel’s conflicted heroine. In contrast, Michael Douglas’s pre-war apartment, with neutral tones and softened lighting, reads as a warm, lived-in sanctuary. According to AD100 designer Brigette Romanek, these opposing environments “tell you instantly who lives there”, reinforcing the idea that a room should act as a personal diary.
“Green Card” (1990) revolves around a coveted New York apartment that can only be rented to a married couple. Its interior features a classic façade, a quiet courtyard garden and layered textures that combine historic architecture with modern comforts. Atelier Davis’s Jessica Davis describes the space as a “masterclass in ambiance and layering,” highlighting the importance of cohesive atmosphere in urban dwellings.
“Death Becomes Her” (1992)—though remembered for its dark comedy—also flaunts opulent, hyper-glamorous décor that pushes the boundaries of over-the-top luxury. The film’s lavish furnishings serve as a reminder that even exaggerated interiors can spark ideas for bold, statement-making commercial spaces.
Why “Verity” is thriving despite scathing reviews
The adaptation of Colleen Hoover’s novel has drawn a stark divide: critics label it “a criminal waste of talent” and “never remotely sexy,” yet audiences have flocked to theaters, delivering a $32.6 million opening weekend and a 70 % audience score on Rotten Tomatoes. The film’s appeal lies in its unabashed, women-centric melodrama—a genre that prioritises fun over fidelity.
Plot-wise, the story follows aspiring thriller writer Lowen (Dakota Johnson) who, after a bizarre accident involving a cyclist’s spray, accepts a mysterious job from a handsome stranger (Josh Hartnett). She moves into a stark, Nordic-styled Vermont home, where she uncovers a secret manuscript suggesting the seemingly paralyzed author Verity (Anne Hathaway) may not be who she appears. The premise stretches plausibility, but the film leans into its absurdity, offering campy jump-scares, over-the-top dialogue and visually appealing settings that keep viewers entertained.
For many, the movie functions like a guilty-pleasure snack: talented cast, pretty locations, and a script that encourages laughter and meme-making rather than serious analysis. As one viewer put it, the experience feels “like sinking into an airplane seat with a bag of M&Ms and an issue of Glamour,” providing escapism without pretension.
FilmNation partners with High Road to expand global TV slate
FilmNation has entered a co-production agreement with the newly formed British indie High Road Entertainment. The collaboration will see High Road providing financing, international market strategy and executive-production expertise from development through to production, while FilmNation contributes its “internationally focused approach to ambitious storytelling.”
Recent FilmNation television successes include Prime Video’s adaptation of Isabel Allende’s The House of the Spirits and the upcoming adaptation of Graham Norton’s Forever Home for Skydance UK’s Channel 5. The new partnership aims to replicate that formula, tapping High Road’s experience in packaging and financing premium TV projects for worldwide distribution.
High Road, launched earlier this year by former Buccaneer co-CEO Richard Tulk-Hart and ex-Cineflix head of scripted TV James Durie, will also see Tulk-Hart attached as an executive producer on the upcoming Masterpiece-BBC-Fox drama adaptation of Henry James’s The Portrait of a Lady. Both companies anticipate that combined resources will accelerate the delivery of “bold, distinctive stories” to global audiences.
In statements, FilmNation’s television chief Kirstie Macdonald praised High Road as “the ideal partner” for its understanding of the international TV landscape, while Tulk-Hart and Durie highlighted FilmNation’s reputation for nurturing daring creators. The partnership promises to enrich the pipeline of high-quality scripted content for viewers around the world.
Whether drawing design cues from classic cinema, reveling in a popcorn-ready thriller, or watching new production deals reshape the television market, the intersection of film and creative industries continues to generate fresh inspiration and business opportunities alike.
