Wicker is a new feature film from Black Bear that’s based on the short story “The Wicker Husband” by Ursula Wills. Directed by Alex Huston Fischer and Eleanor Wilson, the film stars Olivia Colman, Alexander Skarsgård, Elizabeth Debicki and Peter Dinklage.
Wicker is a comedic fable about sex, marriage and the absurdities of social convention. In it, a fisherwoman (Colman) commissions a husband to be made by the local basketmaker (Dinklage). When her wicker husband (Skarsgård) proves more spectacular than she ever imagined, something is awakened inside of her, setting off a wave of jealousy, fascination and upheaval throughout the village.
Sofi Marshall, ACE, edited the project and recently shared details about her experience with Post.
Sofi, how did you get involved in editing Wicker?
“Wicker is the perfect intersection of hilarious, bizarre and charming. I knew I wanted to edit it just a few pages into the script! And of course, having worked with the directors, Alex Fischer and Eleanor Wilson, on their previous film Save Yourselves!, I knew it would be a really fun and creatively fulfilling edit.”
What kind of timeframe were you working with?
“Production started in the fall of 2024, and we picture-locked in late spring 2025. I was cutting through production, so the edit was about eight months.”
Tell us about your editing set up and where were you working?
“The entire edit was remote. The shoot was in Budapest, I was in New York City, the assistant editor and VFX team were in Australia, and the directors eventually returned home to LA. We cut in Premiere and used LucidLink to host both the production and the media, which allowed us to keep everyone in-sync across locations, and allowed my assistant and I to work together seamlessly.”
Can you talk about one or two of the more interesting scenes to edit?
“Without giving too much away, there’s a scene where one of the characters needs the local (not very skilled) doctor to stitch up an injury. The scene has a ton going on. It’s obviously meant to be funny, but also has a few tender moments between the characters, and a few gross-out moments as we see the gash being stitched up. Of all the scenes, this one may have gone through the most revisions. It took months of trial and error, but we finally found the rhythm and pacing that pulled it all together.
“In the second half of the film there’s a quiet scene between the Fisherwoman and the Wicker Husband that beautifully showcases the growing vulnerability and love between them. The shape of the scene — what shots we wanted to use and when we wanted to cut — came together pretty quickly. Then, over the course of the edit, we spent a ton of time trying out different performances from Olivia Colman and Alexander Skarsgård to make sure the scene was really singing emotionally. That’s one huge benefit to working with such skilled actors: every take is fantastic in its own way.”
