Alexander Skarsgard is once again playing the object of an unconventional romantic desire in a new dark comedy. Olivia Colman, who starred alongside Skarsgard in last year’s indie project Pillion, expressed her enthusiasm for the new collaboration, stating, “I fucking loved Pillion so much!” In the new film Wicker, an earthy adult fairytale filmed in Budapest, the dynamic shifts as Colman takes the lead role. Colman portrays a social outcast known as the Fisherwoman, who is ridiculed by her peers for her appearance and lack of societal charm. According to a nother year, another raunchy comedy-drama in which Alexander Skarsgård is the answer to a social outcast’s erotic dreams. “I fucking loved Pillion so much!”, Olivia Colman, reliably sweary straight out of the gate, as she brings up last year’s British indie hit starring Skarsgård as a leather-clad dom with a timid traffic warden as his submissive. “And when they kissed at the end … Aww. Then pretends to dab her eyes, the 52-year-old Oscar-winner for The Favourite gives a mock-sniffle and a little shake of her frizzy grey locks. Seated beside her in a London hotel room and wearing a bright orange “I’m With Stupid” T-shirt, Skarsgård tilts his head appreciatively. In Pillion, it was Harry Melling who had the privilege of being ravaged by the 50-year-old Swedish actor. An earthy adult fairytale filmed in Budapest and set in a medieval village populated almost exclusively by British comic actors who converse in language both archaically formal (“Happy to transact with you”) and bluntly colloquial (“I’d better fuck off”), now it is Colman’s turn in Wicker. She has a groom made entirely of wicker and dedicated solely to her pleasure and happiness, a month later. What with the mask and everything else”, he tried out different accents but that felt “too removed from myself. People pay big bucks to see Alexander Skarsgård on screen!”, her co-star responds by puffing out his chest: “Hey. According to in truth, he is humbler than all that. “Alex gets very awkward with compliments,”, Colman, then turns to him: “Well, tough. I don’t think there are many people who could have got quite so much across while acting within such restrictions. His guttural sounds are accompanied by facial expressions which suggest a beginner’s guide to semaphore acting. Users have offered alternative titles (John Wicker, The Shape of Wicker, Fifty Shades of Hay), double entendres (“All my eggs are going in his basket”) and the witty suggestion that Etsy could become the new Hinge. According to all pertinent, the directors agree now. “Those things were in our heads when we were writing,”, Fischer. “Elizabeth’s character is trying to protect herself and the village from what she sees as this foreign element. A jealous neighbour who tries to sabotage the Fisherwoman’s happiness, to the spiteful Emma, played by Mercedes McCambridge, in the classic western Johnny Guitar, one astute comment likened Elizabeth Debicki’s character. It seemed like a great place for comedy. Fischer notes that Colman’s goggle-eyed reactions were vital: “For someone to be surprised by incredible sex is very funny to us.
Seeking to defy the patriarchal conventions of her village, where men often control their wives, the Fisherwoman commissions the Basketmaker, played by Peter Dinklage, to create a perfect companion for her. This results in the arrival of the Wicker Husband, brought to life by Skarsgard. The role required intensive physical transformation, with Skarsgard wearing a full bodysuit and a mask crafted by Weta Workshop, the same special-effects team responsible for the Lord of the Rings series. The actor noted, “I had a full bodysuit, a mask glued to my face, then added prosthetics for lips and eyelashes,” further adding that the costume included hair made from flax. Underneath that beautifully crafted suit, I was like: ‘Aaah!’, ‘Grrr.
Skarsgard admitted that he found the process of acting through a mask challenging, as he had to exaggerate his movements to convey emotion. He described the process as “maximalist” rather than minimalist because every physical gesture had to be amplified. Colman defended her co-star’s performance against any skepticism, insisting that his ability to convey depth despite the heavy prosthetics is a testament to his talent. Skarsgard, who was originally considered for the role alongside Dev Patel before a scheduling conflict led to his casting, brings a unique presence to the character, contrasting with his previous roles as powerful alphas in series like Succession. Among them is Phil Daniels as a leering butcher and Richard E Grant as a doctor who is even more inept at his job than Grant was as a Celebrity Traitor. Colman returns the compliment. “You get sent a lot of scripts that you feel you’ve seen before.
The film, directed by Alex Huston Fischer and Eleanor Wilson, has already garnered attention for its unconventional tone and humorous reception on platforms like Letterboxd. Fischer noted that the team intentionally leaned into the “horny” nature of the script, believing it to be a raw and relatable aspect of human desire. The film is adapted from Ursula Wills’ short story, The Wicker Husband, which previously appeared as a stage musical. The narrative explores themes of parochialism, the marginalization of outsiders, and the rigid expectations of conformity. As one Letterboxd user put it: “Whoever chose the erection sound effect … you’re a genius and I love you.”. Theatre critic Arifa Akbar saw it as a story about “insider parochialism, the demonising of outsiders and the tyranny of conformity” with “echoes of Brexit Britain”, reviewing that version in 2020. Arms undulating, a deft impression of a cephalopod follows.
Behind the scenes, Colman drew on her long-term marriage to writer and producer Ed Sinclair for perspective on the themes of the film. Having been together for 32 years and married for 25, the couple has frequently collaborated on projects, including Wicker. Colman shared that while their professional relationship is largely harmonious, they occasionally navigate minor creative friction. She recounted early experiences where receiving acting notes from her husband would result in what Skarsgard laughingly called a “strong side eye,” though she noted they have never had significant conflicts.
Regarding the central question of the film—whether relationships require friction—Colman expressed a preference for a more peaceful domestic life, though she acknowledged the complexities of professional collaboration. She suggested that Wicker ultimately advocates for equitable partnerships. “It’s perfectly possible to do it nicely,” she observed. “If you’re planning to share your life with someone, be considerate. Ask yourself: Have I been a good person?”
The film’s production utilized a distinctive aesthetic, incorporating a creaking sound design and a unique, cross-hatched visual style that has resonated with early audiences. As the story progresses, the growing bond between the Fisherwoman and her husband serves as a catalyst for conflict, highlighting the emotional limitations of the other villagers. Through its blend of comedy and folk-horror elements, the movie attempts to dissect the messy, often embarrassing realities of human connection. Especially once the newlyweds get down to conjugal business, the impact of the creaking sound design should not be underestimated either.
