Up Close with Francesca Porcelluzzi

Italian production designer Francesca Porcelluzzidiscusses visual storytelling, cultural research, and creating an authentic Kurdish home for the powerful film ‘10:52’ set to premiere at the Marina Del Rey Film Festival

Francesca Porcelluzzi an Italian production designer, is building a reputation for creating immersive cinematic worlds that feel authentic, emotionally grounded, and deeply connected to character. Based in Los Angeles, Porcelluzzi holds a Master’s degree in Film and Media Production from the New York Film Academy and a Master’s degree in Television, Cinema, and New Media from IULM University in Milan. Her work spans feature films, short films, and commercial productions, with credits including She Reminds Me of You, Magnolia Daughters, Delete, Half Life, The Last Coin, and now 10:52.

In ‘10:52’, Porcelluzzi was tasked with helping bring to life the story of a young Iraqi man living in Kurdistan whose secret relationship with another man is discovered by his father, leading to tragic consequences. Through careful research, thoughtful design choices, and close collaboration with the creative team, she helped create a world that supports the film’s powerful themes of identity, love, family, and the devastating consequences of intolerance.

We recently spoke with Francesca about her journey into production design, her work on ‘10:52’, and the importance of authenticity in visual storytelling.

For those discovering your work for the first time, can you tell us a little about yourself and your journey into production design?’

I’m originally from Italy, where I began studying film and media before moving to the United States to continue my education and pursue a career in filmmaking. I earned a Master’s degree in Television, Cinema, and New Media from IULM University in Milan and later completed a Master’s degree in Film and Media Production at the New York Film Academy.

Throughout my studies, I became increasingly fascinated by visual storytelling and the way environments can shape a character’s experience. That passion eventually led me to production design. I love the process of building worlds, whether that’s transforming an existing location, finding the perfect prop, or developing an entire visual concept that supports the story. For me, production design is about creating spaces that feel authentic and emotionally truthful.

What attracted you to ‘10:52’?

I was immediately drawn to the project because of its emotional depth and the importance of the story it was telling. The film explores themes of identity, love, family, and acceptance in a very human way. I wanted to help create a world that felt authentic and respectful to the characters and their culture, and I saw it as an opportunity to contribute to a film with a powerful message.

What were your responsibilities as Production Designer on the film?

My role involved developing the visual environment of the story and ensuring that every design choice supported the narrative. That included set dressing, prop selection, location styling, and creating visual continuity throughout production. I worked closely with the director and cinematographer to establish a cohesive visual language that reflected both the emotional tone of the film and the reality of the characters’ lives. Every object, texture, and detail was chosen with intention.

One of the film’s key settings is a Kurdish family home. What went into creating that environment?

That was probably the biggest challenge and one of the most rewarding aspects of the project. I had never been to Kurdistan, so I spent a significant amount of time researching homes, family spaces, decorations, and everyday objects to better understand the culture. I wanted the environment to feel authentic and lived-in rather than designed. The goal wasn’t simply to re-create a house, it was to create a family home that reflected the characters’ lives, traditions, and relationships. Research became an essential part of the process, and I learned a tremendous amount while developing the visual world of the film.

What were some of the creative challenges you encountered during production?

Since we were working on an independent production, we had to be very resourceful. We didn’t have the luxury of large set builds or extensive construction, so we focused on the details. Family photographs, fabrics, decorations, household items, and carefully selected props became incredibly important tools for transforming the space. It reinforced something I love about production design: sometimes the smallest details make the biggest impact. Those subtle elements help create authenticity and often communicate just as much as larger visual statements.

Staying authentic and detail oriented is important. You’ve worked on projects ranging from period dramas to contemporary stories. How did ‘10:52’ compare to some of your previous productions?

Every project presents different challenges, which is one of the reasons I love this work. On ‘Magnolia Daughters’, for example, I focused heavily on recreating the visual atmosphere of the 1970s through historical research and period-specific design elements. On ‘Half Life’, I helped create a courtroom set within a forest environment, while ‘Delete’ required building a visual world almost entirely within a vehicle. With ‘10:52’, the challenge centered on cultural authenticity and emotional realism. It required a different kind of research and sensitivity, which made it a particularly meaningful experience.

How important is collaboration in your creative process?

Collaboration is everything. Production design doesn’t exist in isolation. The best results come from working closely with directors, cinematographers, producers, and the entire creative team. One of my favorite memories from ‘10:52’ was the collaborative spirit on set. Everyone involved cared deeply about telling the story honestly and respectfully. There was a genuine commitment to serving the film, and that made the experience incredibly rewarding.

What do you hope audiences take away from the film?

I hope audiences connect with the humanity of the story. At its core, ‘10:52’ is about love, identity, family, and the consequences of intolerance. Those themes are universal, and I hope viewers leave with a deeper sense of empathy and understanding.

Looking ahead, what kinds of stories are you most interested in telling through your work?

I’m particularly drawn to stories that explore human relationships, identity, memory, and personal transformation. I enjoy projects that challenge audiences emotionally while creating visually rich worlds. Whether it’s a contemporary drama, a period piece, or something entirely different, I’m always interested in stories that allow production design to deepen character and support meaningful storytelling.

With a growing body of work that spans features, shorts, and commercial productions, Francesca Porcelluzzi continues to establish herself as a thoughtful and versatile production designer whose work prioritizes authenticity, emotional resonance, and meticulous attention to detail.

The film ‘10:52’ will make its festival premiere at the Marina del Rey Film Festival, taking place June 19–25 at the Lumiere Cinema in Beverly Hills. The film is scheduled to screen on June 23 and offers audiences an opportunity to experience a moving story brought to life through a deeply collaborative creative effort.