A new film titled Wicker has sparked debate over its portrayal of a middle-aged woman’s sexual life—though her partner is not human.
The Plot: A Fisherwoman’s Fantasy
Olivia Colman plays a rural fisherwoman who faces daily bullying from a misogynistic town. She is dismissed for her appearance and demeanor, seen as coarse and unrefined. This reflects broader cultural attitudes toward women who don’t conform to traditional standards.
She commissions Peter Dinklage’s character, the Basketmaker, to create a wicker husband—a man made of woven reed and rattan. This is presented as a satirical, romantic solution to her loneliness and desire for intimacy.
The Basketmaker, a skilled artisan, is not just a furniture maker. He is a figure of cultural authority and emotional depth. His decision to create a wicker husband is thoughtful, not frivolous.
After an awkward meeting, the fisherwoman takes the wicker husband home. Their relationship unfolds with warmth and passion. The film emphasizes emotional intimacy through gestures, silences, and the presence of the wicker figure in daily life.
What Happens in the Cottage
The film’s most striking scene is the intimacy between the fisherwoman and her wicker husband. The wicker figure is described as physically powerful and highly responsive—far beyond what one might expect from furniture.
The film does not explain how this is possible. There is no technical or scientific detail about a wicker phallus. This absence is not a flaw, but a deliberate choice to maintain the fantasy.
A TikTok video titled What Would Happen If You Had Sex With a Wicker Dick? points out splinters would be a major issue. No film or review has explored this in depth. The video highlights a contradiction: a woven structure under repeated pressure would likely break or cause injury.
Yet the film treats the encounter as joyful and natural. This reflects a broader trend: using absurd elements to explore real emotional experiences. The audience is invited to suspend disbelief—not as weakness, but as a path to deeper truths about desire and loneliness.
Physical and Emotional Realities
The film does not address splinters, friction, or pain. The absence of any physical consequence suggests it prioritizes emotional resonance over physical plausibility. This is common in fantasy films.
One reviewer says: ‘You have to submit to a suspension of disbelief required to enjoy the story anyway.’ This is a common approach in fantasy films. But the film still fails to treat the fisherwoman’s character with authenticity.
She reacts with hysterics when she suspects her husband has cheated. She later believes she has murdered him. This emotional volatility undermines the film’s potential to show complex middle-aged female desires.
She is then shown caring for a wicker baby. What does that mean? How does emotional connection form? The film does not clarify this. The idea of nurturing a fragile, inanimate child raises questions about maternal care and attachment.
Contrast with Other Films
Two years prior, Babygirl was praised for showing a 50-something woman—Nicole Kidman—exercising agency in her sexual desires. The film highlights a post-menopausal woman who remains physically and emotionally active.
Unlike Wicker, Babygirl does not rely on fantasy. The woman is flawed, powerful, and in control. Her orgasm is personal and unfiltered—no spectacle.
By contrast, the fisherwoman in Wicker is emotionally unstable. She reacts with anger and despair, even in fictional situations. This undermines the film’s potential to celebrate the complexity of middle-aged women’s desires.
One reviewer notes: ‘I didn’t feel likewise elated after walking out of Wicker.’ The film offers a fantasy, but it does not fully respect the complexity of a woman’s lived experience. It suggests that sexual fulfillment can only come through fantasy—not real relationships or emotional maturity.
Why the Film Matters
There is a growing trend in Hollywood to depict older women as sexually active and desirable. Wicker fits into that trend—but through a surreal, absurd lens.
It celebrates the idea of a woman over 50 enjoying a passionate sex life. That is a positive step. But the film’s reliance on a wicker husband undermines the authenticity of that message.
It suggests that a woman’s sexual fulfillment can only be achieved through fantasy—not through real relationships, emotional maturity, or mutual respect. This is a significant limitation, especially in cultural conversations about aging, desire, and self-worth.
Limitations and Open Questions
The film does not explore the emotional depth of the fisherwoman’s journey. Her arc is predictable and passive. She is saved by a perfect, fictional partner. There is no growth in self-awareness or emotional strength.
Could a film about middle-aged women’s sexuality be more powerful if it focused on real relationships, not fantastical substitutes? The answer may lie in balancing artistic license with emotional truth.
While Wicker is visually engaging and has strong performances—especially from Olivia Colman—the core narrative fails to deliver on emotional authenticity.
It offers a bold exploration of desire, but ultimately falls short in portraying real human connection. For a grounded look at middle-aged women’s desires, Babygirl remains a stronger example. It shows a woman in control of her body and choices—without relying on absurd elements.
As Hollywood continues to explore aging and desire, it must balance fantasy with realism. The audience deserves stories that reflect both the joy and complexity of real human experience.
Original source: Allure
Sources & further reading
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