ABSTRACT
Using the three films as case studies, this chapter will examine the intersection of light, atmosphere, and character in Cory Fukunaga's 2011 adaptation of Jane Eyre; surface, color, and nostalgia in Wes Anderson's 2014 The Grand Budapest Hotel; and thresholds, mirrors, and identity in Todd Hayne's 2002 drama Far from Heaven. The creation of interior spaces for film and the practice of interior design are in many ways closely aligned, with several critical distinctions. An interior designer must take into consideration the senses in one's work, including not only how a space looks but also how it feels and how it sounds to the human body, whereas a production designer needs to communicate those things within the mediated space of a film screen. The most important interior in the film is Thornfield Hall, where Jane encounters Edward Fairfax Rochester, the mysterious and unpredictable man whose secrets are both embodied and concealed within the rambling, ambiguous spaces of the house.
