The New York Times recently published a list of “The 100 Best Movies of the 21st Century” .

Inspired by this, I reconsidered the list with production design in mind, attempting to narrow the list down to 10 films (with some runners-up). While some of the films are Oscar Winners and critically acclaimed, others are personal favorites that left a lasting impression. Here we go! (IN ALPHABETICAL ORDER)

FILM: 25TH HOUR

YEAR: 2002

PRODUCTION DESIGNER: James Chinlund

CATEGORY: PLACE AS CHARACTER

New York at its emotional breaking point. The story takes place post-9/11, and the Tribute in Light features prominently. We get multiple New York locations that represent the solemn mood of the city at the time, but we also get character-centered design as Monty’s fate plays out on screen and runs straight towards him like a runaway train.

ALSO: The Curious Case of Benjamin Button (2008) Production Designer: Donald Graham Burt (Oscar winner, 2008) New Orleans, let me count the ways

FILM: Black Panther

YEAR: 2018

PRODUCTION DESIGNER: Hannah Beachler

CATEGORY: Superhero

NOTES: #96 on NYT LIST, Oscar Winner, 2018

Black Panther was more than just a film; it was a movement. To imagine a world that does not exist, but feels real to so many people, is an unimaginable feat. The colors, the shapes, the STYLE, could only exist in Wakanda, and after Black Panther, Wakanda became REAL.

FILM: Dune

YEAR: 2021

PRODUCTION DESIGNER: Patrice Vermette

CATEGORY: World Building

Notes: Oscar Winner, 2021

World-building can be tough, but Dune is a masterclass. The contrasts between environments and themes—hot vs cold, day vs night, good vs evil—are evident throughout. The set design emphasizes environmental adaptation, especially the Fremen structures crafted for desert survival.

ALSO: Mad Max: Fury Road (2015) Production Designer: Colin Gibson (#11 on NYT LIST, Oscar Winner, 2015) The Vehicles----enough said.

FILM: The Grand Budapest Hotel

YEAR: 2014

PRODUCTION DESIGNER: Adam Stockhausen

CATEGORY: Flight of Fancy

NOTES: #22 on NYT LIST, Oscar Winner 2014

You always know when you are looking at a Wes Anderson film. Whimsical color and handcrafted details set the tone; The Grand Budapest Hotel is a world full of color and intense attention to small details, and tells a story of its own.

Grand Budapest Hotel- Pool. Filmed at Freisebad in Gorlitz, Germany

FILM: Inception

YEAR: 2010

PRODUCTION DESIGNER: Guy Dyas

CATEGORY: Space Bending

NOTES: #55 on NYT LIST

Reality bends in hypnotic locations, like Paris’s Pont de Bir-Hakeim, enhancing the story’s impact. The bridge elegantly spans the Siene, taking us from one bank to the other, a turning point in the story where Ariadne realizes Cobb's weakness. The existing colonnades themselves are hypnotizing, even without the mirrors.

Inception - Pont de Bir-Hakeim (reality/film)

FILM: James Bond Series (Daniel Craig Era, 2006-2021)

YEAR: 2006-2021

PRODUCTION DESIGNER: Casino Royale: Peter Lamont; Quantum of Solace, Spectre and Skyfall, Dennis Gassner; No Time to Die: Mark Tildesley

CATEGORY: Franchise

As franchises go, James Bond is probably my favorite. The films have consistently featured memorable locations that fit the mood and support the actions of both our hero and the villains he hunts. I am specifically thinking of the abandoned Island in Skyfall, where Bond chases the villain Raoul Silva. This location (Hashima Island, Japan) could be the star of its own film, in any genre that suits you.

Skyfall- Abandoned Island (Hashima Island, Japan)

FILM: Malcolm & Marie

YEAR: 2021

PRODUCTION DESIGNER: Michael Grasley

CATEGORY: Single Location

Filmed during the COVID pandemic at the Caterpillar House (reminiscent of the mid-century modern Case Study Houses) in Carmel, California all in black & white and all at night. Zendaya and John David Washington can carry a film, but the house was invaluable as a supporting cast member.

FILM: Memoirs of a Geisha

YEAR: 2005

PRODUCTION DESIGNER: John Myhre

CATEGORY: Period

NOTES: Oscar Winner, 2005

Pre-War World War II Japan. Most of the film was shot in LA, but some of the most iconic shots were done on location in Japan (the iconic Fushimi-Inari gates make an appearance twice). The Japan we see in this film is one full of tradition and beauty. The sets are peaceful and dramatic at the same time.

ALSO: Once upon a Time in Hollywood (2019) Production Designer: Barbara Ling (#44 on NYT LIST) Love him or hate him, Quentin Tarantino films have their own vibe, a Tarantino period film? Another thing entirely.

ALSO: Passing (2022) Production Designer: Nora Mendis, Harlem Elegance in Black and White. A perfect backdrop for this narrative.

Memoirs of a Geisha - Torii Gate with Lanterns

FILM: Minority Report

YEAR: 2002

PRODUCTION DESIGNER: Alex McDowell

CATEGORY: Science Fiction

NOTES: #94 on NYT List

Spielberg’s noir vision of a futuristic, monochromatic world where crime can be predicted. The Washington D.C. of Minority Report is almost completely devoid of color, perfect for a world where no middle ground exists, only black and white.

FILM: Parasite

YEAR: 2019

PRODUCTION DESIGNER: Lee Ha Jun

CATEGORY: Have and Have Nots

NOTES: #1 on NYT LIST

The film follows the classic storyline of haves vs. have-nots, exploring social divides through distinctive and striking settings—modern luxury airy living versus dark, dank basement existing. The have-nots slowly start to encroach, but there is a twist. If you haven’t seen it, run to the TV.

ALSO: Snowpiercer (2013) Production Designer: Ondrej Nekvasil Have-nots moving in on the Haves---on a train. Fun times!

These selections highlight how great design can elevate storytelling to a new level. What did I leave out? Any that shouldn’t be there?

Parasite - Top, Park House, Bottom, Kim Basement

ONE LAST THING: As I was finishing this post, The Daily had an episode dedicated to this subject. Take a listen!

DESIGN FIRST.

HEY PEEPS!