Wicker Review: An Extraw-ordinary Fable

The fantastical Wicker slightly overstretches its premise, but it matters little when the filmmaking, acting and tone are all so irresistible and enjoyable.

Olivia Colman (The Favourite) is the Fisherwoman. She lives on the outskirts of a small medieval village, a firm outsider who trudges into town with her daily catches to be welcomed by verbal abuse and questions about why she hasn’t married. The village is a harsh patriarchal society; the men, like The Tailor (Nabhaan Rizman, of Kaos), are titled by their occupation, whilst the women, like The Tailor’s Wife (Elizabeth Debicki, of The Crown) are named only by marital status. It’s a simple but smart concept that instantly sets the tone, which is furthered by other clever worldbuilding. Each wedding ceremony ends with a bunch of wicker eggs given to unmarried girls and young women, with the one exploding signifying the next to wed.

A medieval village with misogyny underpinning everyday life—so far, nothing new. Wicker’s twist comes with the Fisherwoman’s decision to ask the Basket Weaver (a sublime Peter Dinklage, of Game of Thrones) to craft her a husband made from wicker. By moonlight, and with one of a few splendid Dinklage monologues, the Basket Weaver accepts, and so is born the Wicker Husband (Alexander Skarsgård, of Pillion). From here, Wicker takes flight. The Fisherwoman and Wicker Husband’s first meeting is gorgeously staged, with Colman’s wide-eyed disbelief complimenting Skarsgård’s robotic warmth. Then the sex scenes begin, and the comedy soars. Despite this jovial nature, Wicker never loses sight of its central commentaries. It’s silly, but with a serious backbone.

The script is a constant delight. Medieval, old-timey speak is wordy but coherent, flamboyant and very funny, with amusing sayings and gestures thrown in for good measure. Every actor is on top form here too, from Colman with her hardened exterior but vulnerable interior, Debicki with her commanding presence that slowly wilts as she witnesses true freedom, right down to the supporting ensemble members such as Ella Bruccoleri (The Other Bennet Sister) and Ben Ashenden (Deep Cover). Richard E. Grant (Can You Ever Forgive Me?) steals the few scenes he’s in as the incompetent village doctor. Wicker sees all its aspects align perfectly, slotting alongside one another and merging into something truly riotous, stretching beyond the acting and writing and into Lol Crawley’s cinematography (The Brutalist), Anna Meredith’s original score, and Wētā Workshop’s sensational character design.

The cracks begin to show as the premise runs out of steam. Huston Fischer and Wilson seem a little unsure where to take the story and how to conclude it, although Wicker’s finale is suitably absurd and rewarding. This overstretched nature translates into some pacing issues dotted throughout the film, but again, there is a feisty, funny energy that never dips too much. What it says about the patriarchy, however, is interesting; The Wicker Husband is revolutionary, but he is simply what the norm should be. He loves his wife, treats her well, considers her feelings and needs—the bare minimum. This satirical, over-the-top treatment works delightfully well, as the women of the village begin to realise what a real partner should be like. At its core, Wicker’s central romance, buoyed by Colman and Skarsgård, is irresistible.

Wicker was screened at the BFI London Film Festival on October 8, 2026. The film will be released in select U.S. theaters on October 23, 2026, nationwide on October 30, and in U.K. and Irish cinemas on October 30.