Similar to how the design of our home's interior sets the stage for our daily lives, the production design of a film set plays a crucial role in bringing the plot to life.
When executed successfully, it becomes one of the standout elements that people remember about the movie. In the following list, we present the winner and nominees of this year's Oscars Production Design award category. Additionally, we have included one selection that was not officially nominated in this category, but we believe deserves recognition.
WINNER
POOR THINGS
This Oscar-nominated film showcases incredibly imaginative and daring visual elements, which are further validated by its nomination for Best Set Design.
This film brings to life a creative and imaginative world that blends maximalist and boho interior design styles. The production team, led by Shannon Heat and James Price, crafted intricate and extravagant scenery that remains charming and captivating. The inclusion of oversized dining chairs, along with British decorative motifs like plates on the dining room walls, perfectly harmonises with the overall design.
NOMINEES
BARBIE
Production designer Sarah Greenwood and set decorator Katie Spencer worked their magic, turning Barbie's home into a whimsical pink paradise. Barbie's home showcases a distinctive pink slide that leads to a sparkling pool, while the furniture is elegantly upholstered in velvet. In her bedroom, Barbie enjoys a bedspread adorned with sequins, adding a touch of glamour to her personal space. Notably, the designers incorporated a fluorescent pink sofa and a striking yellow sofa, an iconic part of the Barbie dreamhouse interiors of many’s childhood.
NAPOLEON
The set design of this 2024 Oscar-nominated production exudes luxury, meticulously recreating the opulence of French royalty. American production designer Arthur Max and British set decorator Elli Griff were in charge of bringing this vision to life, expertly curating everything from precise lighting to period-perfect decor selections. French Empire furniture – famous for its luxurious finishes such as gilt, paint, or mahogany, as well as its clean lines and decorative motifs influenced by Roman, Egyptian, and Greek aesthetics – were used. One of its enduring features is the use of claw or paw feet and legs, which contribute to its timeless and enduring charm. Even in modern times, French Empire furniture remains a popular choice.
OPPENHEIMER
Christopher Nolan’s epic about J. Robert Oppenheimer won big at the 2024 Oscars securing a total of seven prestigious Academy Awards. The film's remarkable production design was flawlessly executed by Ruth De Jong, while the artful set decoration was skillfully handled by Claire Kaufman. One noteworthy aspect of the production was the exceptional choice of filming location—Oppenheimer's house, which has been remarkably preserved in its original state since his time. The interior design of the house drew inspiration from the brutalist German aesthetics, characterised by the utilisation of raw materials, unrefined surfaces, neutral tones, robust shapes and geometric patterns. The immaculately preserved interior showcased a minimalist aesthetic that was prevalent in the 1940s, featuring clean lines that imbued the ambiance with a sense of seriousness.
An Honourable Mention...
THE WONDERFUL STORY OF HENRY SUGAR
Despite not receiving a nomination for Best Production Design, the interiors in any Wes Anderson film are consistently breathtaking and unforgettable. The Wonderful Story of Henry Sugar followed suit in this regard. Costume designer Walicka Maimone commented, "When people ask which period is it, I always say this is Wes' period." She added, "Wes has such a distinct world that we all understand and know, and that world is deeply influenced by story and photographic circumstances." Anderson's longtime collaborator Adam Stockhausen created an environment that is deliberately artificial yet playful, taking pleasure in constructing miniature jungles, circuses, and hospitals within the theatrical framework of Dahl's imagination.
