Romance can take many forms, including a relationship between a woman and a humanoid figure made of wicker. That’s the premise of 2026’s “Wicker,” written and directed by Alex Huston Fischer and Eleanor Wilson and adapted from Ursula Wills-Jones’ short story “The Wicker Husband.” The film follows the lonely Fisherwoman (Olivia Colman), who marries the Wicker Husband (Alexander Skarsgård), a figure created specifically for her by the Basket Weaver (Peter Dinklage). Their bond proves remarkably compatible, particularly because Wicker Husband is thoughtful, emotionally mature, and always willing to put others first. The nearby village, however, disapproves of the relationship because of its rigid ideas about marriage and traditional gender roles.
The result is a film filled with broad comedy, heightened intimacy, and genuinely tender reflections on love and compassion. “Wicker” is an irresistibly entertaining experience, and viewers captivated by it may be eager to find another film with a similar spell. Plenty of titles from the 98 best romantic movies of all time could satisfy that craving, as could entries from the 56 best fantasy movies ever made. Still, five films stand out as especially strong companion pieces to “Wicker.” Some share important cast members, while others explore fantastical romances between human women and unusual men.
Several of these selections also capture the classical fairy-tale imagery or bittersweet emotional current that gives “Wicker” its distinctive appeal. Whatever their connection, each offers an ideal follow-up for anyone enchanted by the film’s unusual charms.
The Shape of Water
“Wicker” may be a recent standout in the tradition of women falling for towering fantasy creatures, but the idea has a long history across film and other forms of storytelling. One of the most acclaimed modern examples is Guillermo del Toro’s 2017 romance “The Shape of Water,” a tale of interspecies love that won multiple Oscars. Its poignant story about outsiders and an unexpected connection clearly resonated with awards voters.
In this spiritual predecessor to “Wicker,” mute janitor Elisa (Sally Hawkins) falls for a humanoid amphibian creature, credited as the Amphibian Man (Doug Jones), kept in a massive tank at her workplace. To people such as the cruel Strickland (Michael Shannon), the captive is nothing more than a monster. Elisa sees something else, forming an emotional and eventually physical bond with the Gill-Man-inspired figure. Like much of Guillermo del Toro’s work, “The Shape of Water” focuses on monsters and social outcasts, presenting that theme with extraordinary visual richness. From its vivid production design to Alexandre Desplat’s dreamy score, every element conveys the sweep of falling in love.
Exceptional performances elevate the unusual premise into a remarkably gentle and affecting romance. “The Shape of Water” turns a potentially gimmicky concept into a story of real tenderness, while giving viewers the chance to indulge in a particularly unconventional fantasy.
Pillion
“Wicker” isn’t the only unconventional romantic comedy led by Alexander Skarsgård to arrive in 2025. The actor also stars in “Pillion,” Harry Lighton’s striking directorial debut, a film steeped in leather, kink, and longing. It centers on Colin (Harry Melling), a shy, introverted man who becomes fascinated by Ray (Skarsgård), a motorcycle-riding rebel determined to avoid serious emotional ties. The two eventually begin seeing each other regularly, entering a highly controlling BDSM relationship in which Ray dictates nearly every part of Colin’s life — an arrangement Colin embraces.
“Pillion” is compelling on its own, but its proximity to “Wicker” highlights the range of Skarsgård’s talent. In “Wicker,” he plays a kind, deeply loving, and strikingly literal soul; in “Pillion,” he becomes a guarded man who communicates sparingly and keeps everyone at a distance. He is convincing and magnetic in both roles. One climactic, dialogue-free sequence in “Pillion” relies almost entirely on his expressions and physical presence, revealing just how much the actor can convey without words. Harry Melling is equally impressive as Colin, completing the film’s central pairing.
The two performances, along with bursts of expertly executed visual comedy, make “Pillion” a romance worth surrendering to. Even without pairing it with “Wicker,” it would make for an entertaining, Skarsgård-centered double feature.
Donkey Skin
One of “Wicker’s” most appealing qualities is the way it combines contemporary social commentary and broad humor with the atmosphere of a traditional fairy tale. Rather than simply mock the genre, the film embraces the structure of a modern fable. That approach recalls Jacques Demy’s 1970 masterpiece “Donkey Skin,” adapted from Charles Perrault’s 17th-century tale “Donkeyskin.” In this surreal story, a princess (Catherine Deneuve) seeks help from a fairy godmother to escape a planned marriage to her own father. The magical figure devises a scheme that allows the princess to obtain a donkey-skin disguise and assume a new identity.
Even after the princess ends up working alongside pigs in a shabby village, “Donkey Skin” remains visually magnificent. Demy and his collaborators fill nearly every frame with rich, vibrant colors. The king’s henchmen wear blue body paint, while the settings overflow with striking shades. The costumes are just as extravagant, layered with captivating textures and dazzling hues.
“Donkey Skin” is a near-perfect marriage of visual invention and classic fairy-tale storytelling. And no cynical fairy-tale parody has quite matched the film’s funniest moment: when someone encounters the princess in her donkey costume and simply asks, “Are you Donkey Skin?”
Eternal Sunshine of the Spotless Mind
One of “Wicker’s” most affecting ideas arrives in the third act, when it becomes clear that the central romance cannot last forever. The Wicker Husband will eventually crumble, making every moment the couple shares feel even more precious. That awareness of love’s limited time is also at the heart of Michel Gondry’s profoundly moving 2004 film “Eternal Sunshine of the Spotless Mind.” In the high-concept drama, Joel (Jim Carrey) and Clementine (Kate Winslet) have recently separated, and Clementine has undergone a procedure to erase their relationship from her memory. Joel chooses the same treatment, but the process makes him recognize the value of their shared love rather than simply reject the past.
Charlie Kaufman has written many ambitious and structurally complex screenplays since “Eternal Sunshine,” including the script for the 2008 masterpiece “Synecdoche, New York.” Yet his work on “Eternal Sunshine” remains a career high point. Despite its elaborate premise and constant movement across different moments in time, the film never loses sight of Joel and Clementine’s intimate connection or the pain of watching a relationship disappear. The result is a deeply imaginative experience that explores universal emotions through an entirely unpredictable structure.
Jim Carrey gives one of his finest performances in a soulful, vulnerable role, while Kate Winslet is equally captivating. Like the best relationships, “Eternal Sunshine of the Spotless Mind” cannot last forever — and that impermanence is precisely what makes it so beautiful to experience.
The Favourite
The collaboration between Emma Stone and Yorgos Lanthimos began with 2018’s “The Favourite,” which features one of Stone’s 12 best movie performances. The film had a considerable impact, helping establish Lanthimos as a major arthouse filmmaker for mainstream audiences while elevating Olivia Colman to international stardom. Colman won an Oscar for her performance as Queen Anne, and it is fair to wonder whether she would have been cast as the lead in “Wicker” without the success of “The Favourite.” Much of the last decade of cinema might have looked different without the career boost the film provided.
Set in 18th-century England, “The Favourite” follows the volatile relationship between Queen Anne (Colman) and Sarah Churchill (Rachel Weisz), which is disrupted by the arrival of Abigail (Emma Stone). Determined to replace Sarah as the queen’s favorite, Abigail will do whatever it takes to gain influence. Like “Wicker,” the film is a period story populated by flawed people who behave badly and give in to their most primal desires. Colman is extraordinary as the privileged, unruly monarch, particularly in her chemistry with both Weisz and Stone.
As with many of Lanthimos’ English-language films, “The Favourite” is also a precisely composed visual experience. The staging, cinematography, and elaborate costume design give the movie a distinctive beauty. It is a superb film in its own right, with the added distinction of helping propel Colman to a new level of fame.