Like that lovely light blue velvet B&B Italia sofa that won your girlfriend over and just so happens to appear in The Uninvited, that movie you gave 5 stars to on Letterboxd. Let’s dive into some unforgettable movie moments where the furniture did more than just fill the space: it convinced you to spend on a new piece of furniture.
Alanda Coffee Table by B&B Italia in American Psycho (2000)
When it comes to portraying a chillingly meticulous lifestyle, nothing sets the tone better than the stark, sleek interior of Patrick Bateman’s Manhattan apartment in American Psycho. The Alanda Coffee Table by Paolo Piva for B&B Italia, with its geometric steel base and glass top, is more than just a table: it’s a reflection of Bateman’s obsession with perfection. In a world driven by appearances and social status, this iconic piece encapsulates the 80s’ love for sharp, modern elegance. It’s the kind of table that says, ‘I have everything under control’: a statement that, for Bateman, is both true and terrifyingly false.
DS600 Sofa by De Sede in Scarface (1983)
Say hello to excess with Tony Montana’s lavish mansion in Scarface. Among the many symbols of his rise from street hustler to drug kingpin is the iconic De Sede DS600 sofa. Often called the ‘Snake’ sofa for its undulating, modular form, it’s more than just seating. It’s a metaphor for Montana’s insatiable ambition, stretching endlessly like his desire for power. This piece is a prime example of how furniture in film can symbolize the character’s very essence, blending comfort with a sense of overindulgence.
Florence Sofa by Knoll in Help! (1965)
In Help!, a movie bursting with the carefree spirit of the 60s, the Florence Sofa by Knoll makes a brief but memorable appearance. With its clean, geometric lines, it perfectly balances the chaotic energy of The Beatles as they navigate yet another absurd adventure. As timeless as the band itself, this sofa captures the essence of mid-century modernism: straightforward, stylish, and effortlessly cool.
LC3/LC2 Sofa by Le Corbusier in Conclave (2016)
In the political drama Conclave, tension fills the air as Vatican cardinals debate the next Pope. The LC3/LC2 Sofa by Le Corbusier offers a touch of sophisticated restraint: its leather cushions and tubular steel frame exude a calm, authoritative presence amid the turmoil. It’s a nod to modernism’s commitment to form and function, blending comfort with a sense of solemnity, much like the secretive, austere setting of the conclave itself.
Executive Armless Conference Chair by Knoll in The Graduate (1967)
Dustin Hoffman’s Benjamin Braddock may be drifting through post-college uncertainty, but one thing that stands firm is the Saarinen Executive Armless Conference Chair. As Benjamin ponders his future, this chair symbolizes both the corporate expectations placed upon him and the modernist wave shaping the 60s aesthetic. With its ergonomic curves and no-nonsense design, it’s both welcoming and oddly intimidating: much like the uncertain world awaiting Benjamin outside his parents’ home.
PK61 Coffee Table in The Brutalist (2024)
In the visually striking The Brutalist, the PK61 Coffee Table by Poul Kjærholm is more than just a stylish prop: it embodies the film’s architectural intensity. Its minimalistic steel frame and transparent glass top reflect the cold, uncompromising nature of brutalist design. It’s a piece that challenges perceptions, just like the film’s narrative, highlighting the stark contrast between human fragility and structural permanence.
Red and Blue Chair by Cassina in Promising Young Woman (2020)
In the bold and provocative Promising Young Woman, the Red and Blue Chair by Cassina makes a striking appearance. Designed by Gerrit Rietveld, this iconic piece, with its vibrant primary colors and geometric form, mirrors the film’s audacious and confrontational style. The chair’s rigid, unapologetic structure subtly echoes the protagonist’s determined quest for justice, standing out as both a design statement and a symbolic element within the carefully curated set. Its presence serves as a reminder of how thoughtful design can amplify storytelling, making this chair not just a piece of furniture but an integral part of the film’s visual identity.
Tulip Chair by Knoll in A Clockwork Orange (1971)
Nothing says dystopian chic quite like the Tulip Chair by Eero Saarinen in A Clockwork Orange. In a film dominated by violence and societal breakdown, the sleek, futuristic silhouette of the Tulip Chair offers a strange, almost eerie contrast. Kubrick’s vision of a morally decaying world is accentuated by this clean, almost sterile piece of furniture, highlighting how aesthetics and brutalism can coexist in unsettling harmony.
