In addition to creating a backdrop for the narrative, the space in cinema establishes a bond between the audience and the narrative by reflecting the atmosphere of the story and the inner world of the characters. In this respect, space becomes an actor that shapes the narrative of the movie. Space in cinema is the original spaces depicted by space designers, and these spaces can be produced in two ways: as physical spaces that can be built in studios and outdoor spaces, or as virtual spaces. When a new space is created for a movie or an existing space is used within certain limits, a whole new meaning is created. Therefore, in films where different directors shoot the same movie, the locations produced also vary.  Although it is seen that the spaces in today's cinema are constructed in line with the subject, genre and scenario, the characteristics of the period in which the space is formed are most influential in the formation of the space. Within the scope of this study, it is aimed to analyze the film locations in the adaptations of the same film shot by two different directors. For this purpose, two films shot in different years of the novel Murder on the Orient Express, written by Agatha Christie in 1934, were included in the study. The locations discussed in the study were analyzed comparatively in line with the traces of aesthetic movements. It concludes that despite identical plots, interior designs differ, reflecting the aesthetic sensibilities, technological advancements, and directors’ perspectives of their respective periods. This comparative analysis reveals that interior design in cinema is not merely aesthetic or decorative, but a constitutive element of narrative strategies and ideological representations.