On the same floor, in the second apartment, we find the passion and emotional complexity of Almodóvar's films. His visual-linguistic repertoire is drawn upon, especially his ability to express characters’ emotions or psychological conditions through color. The colors most used by the director – red, yellow, and blue – are reinterpreted here in a bold and straightforward design. The geometric arrangement of elements contributes to a strong visual identity, while textures and materials add depth.

The second floor is entirely dedicated to Paolo Sorrentino and his baroque Italian cinematography. A rich, evocative style is echoed in the use of black and white marble in the kitchen and living areas, in the wall mouldings, and in the sharp contrasts of light and shadow. The colours are vivid and saturated, evoking the opulence typical of his settings, a blend of the surreal and the melancholic. The bedrooms and bathrooms are infused with a dreamlike atmosphere, echoing the ambiguity between reality and illusion often explored in Sorrentino’s films. The numerous references to Italy’s rich cultural heritage in his works, particularly the Renaissance, are here expressed through the choice of marbles, velvets, and golden finishes.

Finally, the fourth apartment is located on the third floor, spread over two levels covering 250 square meters, with a double-height room overlooking the main living area. From the entrance hallway, you are transported to the deserts of the old west, with a visual contrast between wide, sweeping shots and the close-up details typical of ‘spaghetti westerns’. The architectural script of the apartment is inspired by Sergio Leone, whose filmography is rich with suspense and close-up shots of facial details, repeated in the expansive staircase and the double-height living rooms. The warm, earthy tones of his dry settings are articulated in a palette of ochre, browns, and golds. The oppressive heat and intensity of the human context permeate every interior space, vast, textured, and rhythmically divided by geometric mouldings. Above all, emotion prevails — the same emotion one feels when discussing the latest auteur film in the foyer of a cinema.