In the world of cinematic storytelling, spaces often act as silent yet powerful narrators of the characters’ journeys. Such is the case in the film featuring high-powered CEO Romy, portrayed by Nicole Kidman. Her life unfolds within the exquisitely designed confines of a Manhattan penthouse that transcends its role as a mere backdrop. This residence is a narrative vessel—an artful blend of architecture and emotion that enhances the story with its minimalist splendor.
PROJECT OVERVIEW
Interior Designer: Studio Mellone
Actors: Nicole Kidman, Antonio Banderas
Location: Penthouse at 200 Amsterdam, Manhattan
Production Designer: Stephen Carter
Set Decorator: Sarah McMillan
The penthouse featured in Romy’s story is not a mere construction on a soundstage, but a real-life luxury residence located at 200 Amsterdam in Manhattan’s Upper West Side. With its close proximity to Lincoln Center, the dwelling perfectly caters to art enthusiasts, a feature that aligns seamlessly with Romy’s affluent lifestyle. The interior design, crafted by the acclaimed firm Studio Mellone, embodies a style that simultaneously embraces minimalism and warmth, much like Romy’s own world.
Studio Mellone’s founder, Andre Mellone, has a profound appreciation for production design, drawing inspiration from a diverse range of cinematic sources. While the design language of this penthouse wasn’t tied to such influences, Mellone managed to create a highly-stylized environment aimed at art patrons, showcasing breathtaking views of the city. The penthouse’s aesthetic reflects the chic elegance of Romy’s own fashion sensibility, encapsulating the feeling of being enveloped in luxury, yet hinting at the underlying notion of a beautiful cage.
In collaboration with production designer Stephen Carter and set decorator Sarah McMillan, the space was artistically styled for the film. The blend of Mellone’s designs and thoughtfully selected artwork and accessories brought the penthouse to life. The walnut-wainscoted living room features a custom sofa and vintage floating shelving, adding layers of sophistication to the minimalist framework. The interiors seem to evolve through Romy’s interaction, underscoring her narrative arc with a subtle yet poignant touch.
The film’s narrative and design converge to personify Romy’s internal struggle and successes. As she navigates her world, the penthouse stands as a metaphorical enclave—an extension of her professional triumphs and personal entrapments. Mellone views each interior he crafts as a sensory journey, one that in the case of this penthouse becomes a fantasia of stylistic expression. Although Mellone himself did not transition his talents to the realm of film, he offers insights into the unique symbiosis between interior design and production design, where anything imaginable can be brought to fruition.
The penthouse at 200 Amsterdam and its role in the film reminds us that within the realm of architecture and design, spaces do more than house lives—they reflect and shape them. While production design enhances the visual storytelling of a film, the thoughtful architecture of daily life can similarly inspire directors and audiences alike, setting the stage for stories both real and imagined. Such collaborations suggest imaginative possibilities, whether through cinema or in the nuanced design of space, providing us with ever-new ways to experience the world.
