(L-R) Peter Dinklage, Alexander Skarsgård, and Olivia Colman attend the Q&A for Wicker by Eleanor Wilson and Alex Huston Fischer, an official selection of the 2026 Sundance Film Festival. (© 2026 Sundance Institute | photo by Sam Emenogu)
By Ramona Flume
Navigating a new marriage can be a funny thing. Especially in a fictional medieval village filled with strange folklore traditions, oddball characters, and a whimsical twist of magic.
Husband and wife writing-directing duo, Eleanor Wilson and Alex Huston Fischer, made a joyous return to the Sundance Film Festival (Save Yourselves!, 2020), and a sold-out Eccles Theatre, on January 24 with the star-studded premiere of their allegorical adult fairy tale, Wicker.
“We’re just really excited to drop you into this strange world we made,” Wilson says onstage during the directors’ introductory remarks “… just go with it.” She followed with a deep expression of gratitude for all their producers and team. “Thanks for taking this movie seriously, even when the pressing issue was sometimes: ‘Wicker nipples or no wicker nipples?’” “Rest assured,” Huston Fischer quickly rejoins, “we went with wicker nipples.”
Based on Ursula Willis’ short story, this spellbinding fable follows a fisherwoman (Olivia Colman) whose marital dreams come true thanks to a master basket maker (Peter Dinklage) — a well-meaning (but pot-stirring) fairy godfather of sorts who helps retune the natural harmony of their charming but off-kilter village. Wishes are made, a mystical wicker man (Alexander Skarsgård) is woven, and, soon, an entire village is upended with new revelations about themselves and each other.
As fortune’s tables are turned, and not just for the fisherwoman and her newlywed wicker husband, the hilarity and deep humanity of this part-fairy tale, part-fish-out-of-water fable becomes intensely relatable despite the fantastical circumstances. We see love discovered, but also hidden desires and the darker sides of human nature revealed.
The cracks we see appear in these characters’ facades are just as endearing, thanks to the sidesplitting performances delivered by the ensemble supporting cast as the eccentric villagers. “We really loved all of these characters so much, and all their flaws,” Wilson says. “And we tried not to treat them with any judgment.”
Huston Fischer adds that the recurring thematic struggle of “being a reflection of what you don’t want to be seen as” informed the entire screenplay. “When you’re in a relationship, you’re so exposed. You are seen fully — kind of too much — and you have to let that happen and you have to get past that… There’s that point where you realize that in seeing yourself for how you really are — and being loved — that’s pretty powerful.”
Colman is resplendent as the fisherwoman alongside the bewitchingly rigid Skarsgård, who inhabits the role of an idyllic wicker husband (deeply poetic, quietly committed; fiery in bed but tender in heart) to a delightful effect. Squeals of laughter rippled throughout the auditorium audience as well-worn marriage and relationship tropes were turned on their head in this crowd pleasing, perfectly paced film.
Colman was onstage alongside the Festival alum directors during the opening remarks of the premiere, as were co-stars Skarsgård, Dinklage, and Elizabeth Debicki. When asked how this “dream cast” was assembled, Huston Fischer says: “There must have been witchcraft involved… Olivia read the screenplay, and once you have Olivia, she’s a magnet that attracts the most talented people.”
Each actor went on to credit the singularity and the strength of the script with their decision to join the project. “I was quite intimidated when I read it,” Skarsgård says “I tend to be drawn toward more conflicted characters with more internal turmoil and darkness… and to play this good hearted, good natured, sweet, morally righteous character was scary to me,” he says to big laughs from the audience. “I don’t have anything to tap into when it comes to that, so it was a stretch as an actor.”
Debicki referenced the subtle, but very poignant study of patriarchy she found on the page. “I loved the idea of watching a film about a woman whose power and great journey is about her discovery that she has the right to choose the path that her life goes on.”
Another discovery the actors were able to immerse themselves in was the visually stunning, otherworldly film set (shot on location in Budapest) that featured truly exceptional production and costume design, including a riotously rigid wicker mask and torso —yes, complete with wicker nipples — worn by Skarsgård.
When asked by the audience during the Q&A what their favorite piece of production design was, Skarsgard knowingly looked at Colman with a furtive grin: “I loved our bed.” The audience erupted into laughter as she playfully slapped his arm.
