Wicker is more than just the raunchy film the trailer makes it out to be. There’s actually a surprising amount of heart in this romantic fantasy comedy fable, based on the short story “The Wicker Husband” by Ursula Wills. The film is focused on a smelly, single Fisherwoman (Olivia Colman) who lives on the outskirts of a small village by the sea. Right from the beginning, we get a strong sense of the loneliness she feels as a result of the constant ridiculing from her fellow villagers.

So when there’s a marriage in town and a (strange) tradition with maidens reveals the Fisherwoman will be the next one to find a husband, everyone laughs at her, as it seems impossible that this outcast could find love. Now if only finding love in real life were as simple as what the Fisherwoman does next: she goes to the village Basket Weaver (Peter Dinklage) and says, “I want you to make me a husband.” And she gets exactly what she asks for, as the Basket Weaver crafts her the perfect partner, the Wicker Husband (Alexander Skarsgärd).

Upon his arrival and unconventional romance with the Fisherwoman, the entire village is immediately thrust into chaos, with both women and men alike becoming jealous of their partnership. The village’s women feel neglected and unloved by their husbands, so seeing someone like the Fisherwoman find love and happiness enrages them. At the same time, the men are more than aware that their wives want the Wicker Husband, whose acts of love make them feel inferior, fueling their jealousy in turn. I feel that this portrayal of jealousy and how it can ruin relationships (not just your own) is something the film does really well, especially with jealousy being the primal cause for everything that ensues, including eventually driving a wedge between the Fisherwoman and Wicker Husband.

I also think that the film has a lot to say about society in the way it portrays gender roles and expectations within the village. In particular, the women of the village are titled after the occupations of their husbands—such as the Tailor’s Wife (Elizabeth Debicki) and the Baker’s Wife (Ella Bruccoleri)—and they’re also expected to spend their lives supporting them, regardless of their own wants and desires. On the contrary, in the Fisherwoman and Wicker Husband’s relationship, she’s the breadwinner, and he’s the one looking after their home. That simply doesn’t sit right with everyone else, and the film explores how society naturally tries to tear apart what deviates from normal.

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These underlying themes give Wicker more meaning than just “lonely woman gets wicker husband and essentially fornicates with furniture.” It’s a brilliant romantic fantasy comedy that flows freely and effortlessly between several different genres and is also very well paced, thanks in part to the excellent editing and screenplay from directors Alex Huston Fischer and Eleanor Wilson.

It would be wrong not to also mention the incredible work done to bring the Wicker Husband to life. The character looks amazing on screen—most of which was a practical full-body costume from Wētā Workshop. Even the sound effects are excellent, from the creaks and squeaks of the Wicker Husband’s general movements to… other things.

And yes, on top of everything else, the film features exquisite performances from Olivia Colman and Alexander Skarsgård as the unlikely lovers who tend to break their bedframe quite often. But the entire supporting cast, rounded out by Richard E. Grant, Marli Siu, Kiell Smith-Bynoe, and Nabhaan Rizwan, is incredibly strong and solidifies this as a five-star film for me. As perhaps my most-anticipated film of this year’s BFI London Film Festival, I’m happy to say that Wicker lived up to and exceeded my expectations. I hope audiences will enjoy it as much as I did.

★★★★★

Playing at the 2026 BFI London Film Festival on 8th, 10th and 14th / Olivia Colman, Alexander Skarsgård, Peter Dinklage, Elizabeth Debicki, Richard E. Grant, Ella Bruccoleri / Dir. Alex Huston Fischer and Eleanor Wilson / Black Bear UK / 12A