In a British medieval village lives the 'Fisherwoman' (Olivia Colman): eternally single, a little scruffy and always the butt of the joke. When she's had enough of her narrow-minded neighbours one day, she asks the local basket weaver to weave her the perfect man out of wicker. And who better than Alexander Skarsgård to fulfill that role?

A sexy wicker man with the features of Alexander Skarsgård and a 4-week delivery time? Too bad this is just a fairytale and not a documentary.

He's broad-shouldered, strong as an ox, and faithful as a dog; he fixes your roof when it leaks and your bed when you've just wrecked it together; he has the contours and voice of Alexander Skarsgård; he keeps saying things like: 'That I can see the sun and the sea is all thanks to you.' The _Wicker Husband_ is, in short, the perfect husband. That this dream of a man is made of wicker, and therefore looks a bit like a monstrous, walking basket, hardly seems to bother anyone. Rarely have we seen so many happy faces on our feed as after the trailer for _Wicker_ dropped. 'The girls are choosing the basket over the men', as someone put it in one of the thousands of reaction videos. The women in the medieval village of _Wicker_ are all jealous of the Fisherwoman (Olivia Colman), who had a travelling master basket weaver make the _Wicker Husband_ and is now the only one no longer stuck with love-free, orgasm-free evenings. Compared to the new straw arrival, the village's boorish men turn out even more boorish than expected, because they don't dance, they don't say sweet things, and they certainly don't contribute anything to the household. Such a shame that _Wicker_ is just a fairytale and not a documentary. We want to move in with a sexy, soulful object too. Or was there another moral to this story? We didn't quite catch it, busy thinking about a broken bed and a leaking roof that still need fixing.

Alexander Skarsgård is the man and basket of your dreams.

Wicker

On the rooftops of Tel Aviv, far from the war zone, Israeli soldiers hold secret late-night conversations. Step by step, it reveals how the military and intelligence services determine who is a target, which technologies and procedures are deployed, and how many civilian casualties an attack is allowed to cost. Tens, sometimes hundreds of Palestinian civilians can be deemed an acceptable price for taking out a single target. _Naza_ thus poses the painful question: how can the killing of innocent civilians become so normalised within a military machine that it's no longer seen as a moral or legal problem?

The title refers to Nezek Agavi, 'collateral damage', the Israeli military term for the expected number of civilian casualties in an airstrike. The term symbolises the dehumanisation baked deep into the system: civilian deaths aren't a tragic side-effect, but a foreseen and accepted part of military operations.

_Naza_, by filmmakers Yuval Abraham and Rachel Szor (_No Other Land_), premiered at the Venice Film Festival, where it won the Special Jury Prize.

24 Israeli soldiers testify on camera for _No Other Land_ filmmakers Yuval Abraham and Rachel Szor about their attacks on Gaza.

Naza

A new adaptation of Jane Austen's beloved novel, starring Daisy Edgar-Jones and Esmé Creed-Miles as sisters Elinor and Marianne Dashwood.

The story revolves around the two eldest sisters of the Dashwood family, and their experiences with love, grief and societal expectations. Following Georgia Oakley's disarming debut _Blue Jean_ (2022), our expectations are sky-high.

A new adaptation of Jane Austen's beloved novel, starring Daisy Edgar-Jones and Esmé Creed-Miles as sisters Elinor and Marianne Dashwood.

Sense and Sensibility

Unsafe sex leads to bizarre scenes in this imaginative body-swap horror packed with identity crises. Directed by Arthur Harari _(Onoda: 10,000 Nights in the Jungle)_, who previously co-wrote _Anatomy of a Fall_ and _Sibyl_.

Photographer David Zimmerman (Niels Schneider) rarely leaves his house, until his friends take him to a party. He becomes fixated on a mysterious woman (Léa Seydoux) and follows her home. By sunrise, his life has changed: he wakes up in her body.

First _she_ had a grand, monstrous orgasm, and then _he_ was suddenly inside her. Not with a body part or anything, but lock, stock and barrel, trapped in someone else's skin. In the filthy body-swap horror _L’inconnue_, we follow introverted photographer David (Niels Schneider), who ends up in the body of his unknown sex partner Eva (Léa Seydoux) after an unwise onenightstand. As he tries to unravel this bizarre mystery — who is the patient zero who infected him with this body swap through intimate contact? — he runs into his old body, which is now inhabited by a woman named Malia. Together they go in search of the super-spreader, while both dealing with their own identity crises. Where Eva's body feels liberating for the somber David, the once young and lively Malia would like nothing better than to wriggle out of her new, worn-out skin. She used to be so beautiful, and now she's... this. Writer-director Arthur Harari (_Anatomy of a Fall_) based _L’inconnue_ on the graphic novel _The David Zimmerman Case_, which he made with his brother. While the film swings between the madness of _Possession_ and the paranoia of _It Follows_, Harari stays so close to his characters' skin with his camera that it feels suffocating. Next time, maybe think twice before jumping on (and into) someone else.

The super-spreading sex parasite gives me the bad kind of creeps, but the moves this body-swap film pulls off give me the absolute best.

Unsafe sex leads to bizarre scenes in this imaginative body-swap horror packed with identity crises.

L'inconnue

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