click on each story to read:
Rising Behind-the-Scenes Talent Discuss Favorite Moments From Awards Season Films: Clayton Davis, Variety
How ‘The Father’ Production Designer’s Set Successfully Simulates Dementia. Casey Mink
How 'The Father' Production Designer Evoked Disorientation in Film About Memory Loss. Carolyn Giardina
These sets are more than a place to tell a story. They are the hero of the story. Randee Dawn
His apartment — a gorgeous feat of design, courtesy of Peter Francis, that’s heightened by a theatrical lighting, a visually imposed sense of comfort in one moment and isolation in the next — is a sanctuary.
Huge plaudits are due to production designer Peter Francis, whose subtly reconfigured sets disorient the viewer, matching Anthony’s increasingly bewildered experience.
Mark Kermode
How ‘The Father’ Production Designer Peter Francis Created the Most Disoriented Set of the Year.
As Anthony Hopkins' character loses track of his surroundings, Francis' work became a key storytelling device — and the highlight of his career.
Eric Kohn
‘The Father’ Production Designer Peter Francis on Using Set Design to Reflect Memory Loss
Tim Gray
How ‘The Father’ recreated the “disorientation of the audience” from the stageplay on screen
If You’re Confused or Unsettled by ‘The Father,’ You Can Thank the Production Designer
Steve Pond
cineuropa
''Zeller must also be commended for his adaptation from stage to screen of a story that primarily happens in interiors and single rooms, still making it feel cinematic. Aided by some terrific production design by Peter Francis''
jason gorber, that shelf
''THE FATHER - Breathtaking. Shattering. Sublime. Jaw-dropping performances led by Anthony Hopkins with all star rotating cast. Florian Zeller's beautiful translation of his play triumphs by using montage and set decoration to elevate story in cinematic terms. I'm shaking.''
''For that production design and editing mentioned earlier, the film should receive Oscar nominations as well. We tend to think of both crafts in a limited way, mostly based on how flashy the contribution is. Here, the work of those artists (Peter Francis and Yorgos Lamprinos, respectively) is incredibly subtle, but absolutely instrumental in the storytelling and emotional nuance of the film...the craftsmanship on display in this film (as well as the warmly-caressed hues from cinematographer Ben Smithard) are of the highest artistry.''