Just as Martha and Ingrid’s respective homes needed to feel lived in, the modernist Airbnb “couldn’t quite feel like a museum either, so we brought in mid-century elements as well as modern interpretations of them,” explains Casado. This included bespoke sun loungers from Kettal alongside Stua armchairs, a Womb Chair Relax from Knoll, Pierre Chareau desks, Pierre Chapo sideboards and chairs from Pierre Jeanneret and Jean Prouvé.

Meanwhile, in Martha’s New York apartment, the entry hall has an Iranian console with an Indian Mehraab-style mirror and a Fornasetti umbrella stand, and in the living room a Jean Prouvé table sits next to a pair of Bonanza armchairs from Esko Pajamies, with striking geometric prints . “Pedro likes Cassina, Moroso, Utrecht and Vitra, and we often work with brands like Jonathan Adler, Fritz Hansen and The Rug Company,” continues Casado. “You can take inspiration from designers like Gio Ponti, Charlotte Perriand, Gerrit Rietveld or the Memphis group, but there’s no reason to break the bank. These days there are so many great design stores offering garments inspired by legendary designers.”

Choose warm woods

Almodóvarian interiors have an innate sense of warmth, and that was even more important to incorporate into The room next doorgiven that it was the director’s first English-language feature and was set outside of his native Spain, as well as the fact that much of the story takes place in a somewhat cold, glass-walled Airbnb. The key? Deep, warm woods, says Casado, that create a feeling of coziness.

Use lights to create atmosphere

Various fixtures from Flos, Louis Poulsen, Foscarini, Venini, Casa Josephine, Mayice Studio, Sammode and even a Taliesin lamp by Frank Lloyd Wright complete the sets with The room next doorcasts a soft, golden glow and contributes to this sense of quiet, contented secrecy. Interested in injecting the same warmth into your own home? “Think about some wall sconces too,” advises Casado.

Display art that is meaningful to you

“Pedro is like a mushroom,” says the decorator. “He soaks up culture, art, fashion and music and shares his new interests with his team, and then we have to translate them into his sets.” An example this time was a trip the director took to a Georgia O’Keeffe exhibit, during which he fell in love with a specific painting that shows a tree silhouetted against a blue and peach sky. So, of course, a print of it ended up in the The room next doorin Martha’s bedroom.

Elsewhere in that house, you’ll see a blue and white Louise Bourgeois print embroidered with the words: “I’ve been to hell and back. And let me tell you, it was wonderful.” This was a piece Almodóvar already owned. “It was perfect for Martha because she’s gone to war and survived, and after all, it was an adventure.” Next to it hangs another object from the director’s personal collection: an image by Spanish photographer Cristina García Rodero showing women in mourning at a funeral in Puglia. “It’s also connected to Martha, because she’s seen a lot of pain and sadness around the world.”