Directors Alex Huston Fischer and Eleanor Wilson, the duo behind the acclaimed 2020 science fiction comedy Save Yourselves!, return with Wicker. Adapted from Ursula Wills’ 2008 satirical short story The Wicker Husband, the film is a dark, humorous, and provocative fable exploring human nature through the lens of an artificial creation. The story draws thematic parallels to classic tales like The Adventures of Pinocchio and the Pygmalion myth, examining desire and community dynamics with a distinctive, sharp-witted flair. You may find yourself involuntarily smiling several times throughout the course of “Wicker,” a delightfully dark, often humorous and, well, downright horny fable about a man who’s seemingly such a good husband that it causes problems for an entire community. It’s certainly a tone-setter, if not a road map for the story to unfold.
Set within a medieval village, the narrative centers on a local Fisherwoman, portrayed by the versatile Olivia Colman, who endures isolation and a persistent scent associated with her trade. Desperate for companionship, she commissions a mysterious Basket Weaver, played by Peter Dinklage, to craft her a partner. The result is the Wicker Husband, an awkward yet evolving man fashioned from flammable, woven materials, brought to life by Alexander Skarsgård. Skarsgård delivers a sturdy, thoughtful performance, successfully avoiding a robotic portrayal as his character navigates the complexities of his new existence. The Fisherwoman – whose line of work gives her a certain persistent odor – travels to the remote home of the Basket Weaver to ask him to make her a husband, even though she declares that love seems to be more a burden than a prize after the latest wedding in the village. And the following morning, the newly born Wicker Husband makes his way, awkwardly, to the church, where his Bride is to be waiting, he accepts this unusual request. Colman (“The Favourite,” “The Lost Daughter”) is about as consistent a performer as you’ll find, and she brings a mix of strength and vulnerability to the Fisherwoman. Meanwhile, manages to be sturdy and steady but somehow not robotic as the Wicker Husband, who proves to be increasingly thoughtful as he soaks up the new world around himself. (And, yes, the c, skarsgård (“The Northman”).
The film opens with a cryptic narration from Dinklage’s Basket Weaver, who recounts a tale of a fish that attacks its own reflection in the ice before meeting a grim end—a dark omen for the story to follow. As the Wicker Husband integrates into village life, his presence sparks jealousy and friction among the residents. The community, already fraught with interpersonal tension, reacts poorly to the unconventional union. The gossipy Tailor’s Wife, played by Elizabeth Debicki, openly resents the outsider, while her frustration mounts regarding her own partner, the Tailor, played by Nabhaan Rizwan. According to “Then,”, The Basket Weaver in this little serving of narration, “it tried to (expletive) itself and died. It’s also causing serious friction between the Baker (Ben Ashenden) and the Baker’s Wife (Ella Bruccoleri). In fact, while drinking by the Innkeeper (Kiell Smith-Bynoe), the Baker offers the Wicker Husband an unusual proposition.
The discord extends to other households, including the Baker and his wife, as the arrival of the woven newcomer prompts an unusual proposition from the Baker.
While the film’s screenplay is consistently sharp and well-paced, some viewers may find the limited screen time for supporting cast members frustrating.
Peter Dinklage provides a memorable impact, though his appearances are sparse until the movie’s final act. Similarly, the veteran actor Richard E. Grant, who portrays both the Tailor’s Wife’s father and the village’s inept physician, is underutilized despite the critical role his character plays in the local chaos. We get even less of the always-entertaining Richard E.
Ultimately, Wicker succeeds as a well-woven, if twisted, examination of human relationships. The production values, particularly the prosthetic and costume design for the Wicker Husband, are exceptional. While the film leaves one wishing for more development of its secondary characters, the central performances from Colman and Skarsgård provide a grounded, emotional core. It is a visually and narratively engaging project that highlights Fischer and Wilson’s growth as storytellers, leaving audiences curious about their future cinematic endeavors.
