The Bride (2026)

⭐⭐⭐

It’s uncommon for people to leave a movie early, but at the premiere of The Bride, six audience members did just that. As they walked out, I couldn’t help but feel disappointed that they hadn’t given the film a fair shot. Looking back, maybe they already knew what the rest of us were about to discover — that The Bride is entirely unpredictable.

Directed by Maggie Gyllenhaal, The Bride represents another ambitious addition to her expanding body of work. Gyllenhaal, who made her directorial debut with the critically praised The Lost Daughter, has already established herself as a filmmaker willing to explore complex themes and deeply flawed characters. With The Bride, she makes an even bolder creative leap by embracing a surreal and experimental style that challenges conventional storytelling. Her boldness is clear, even if the results split opinions.

This reimagining of the classic Frankenstein tale shifts the focus to the bride’s perspective. Jessie Buckley, fresh off her Oscar-winning performance in Hamnet, delivers a magnetic and electrifying portrayal of the bride. Created to be the perfect companion — Frankenstein’s “ideal woman” — the bride refuses to accept her fate. Instead, she rebels against her creator and the role forced upon her, embarking on a journey of defiance, self-discovery, and reclaiming autonomy in a world determined to control her.

The plot is anything but conventional. Gyllenhaal constructs The Bride like a surreal dream, blending raw emotional moments with surreal, often bizarre dance sequences. One moment, viewers are immersed in the bride’s quiet anguish. Next, they are thrown into chaotic, visually overwhelming scenes that blur the boundaries between reality and fantasy. This constant oscillation creates a disorienting experience, leaving audiences questioning what is real and what is imagined.

At the heart of the film is Buckley, whose fearless performance brings depth and humanity to The Bride. Whether delivering a poignant monologue about the pain of being “created” or raging against the forces that seek to control her, Buckley imbues the character with strength, vulnerability, and authenticity. Her bride is not a victim. She is a fighter, a survivor, and a symbol of resistance, making her journey both compelling and deeply resonant.

Visually, The Bride is a triumph. The cinematography is steeped in gothic elegance, with every frame meticulously crafted to evoke both beauty and unease. The sets are immersive, creating a world that feels fantastical yet hauntingly real. Makeup and character design are equally striking, reflecting the film’s exploration of beauty, monstrosity, and identity. Together, these elements form a visually arresting and unforgettable aesthetic.

But here is the question: Did I enjoy the film? Honestly, no, and I say that with respect. While I admire Gyllenhaal’s audacious vision and the themes she explores, the chaotic plot and surreal storytelling often undermine the bride’s character arc. Buckley’s extraordinary performance is frequently overshadowed by the film’s unconventional approach. The comedic and self-referential homages, while bold, feel out of place and detract from the story’s emotional weight. By failing to fully ground its narrative, the film diminishes the impact of the bride’s journey, leaving it feeling less meaningful than it could have been.

The Bride is not a film that plays it safe. It is daring, bizarre, and unapologetically experimental. For those seeking a straightforward story, this is not the movie for you. However, if you are in the mood for something audacious and unforgettable, The Bride may deliver exactly that. Just do not be surprised if you leave the theater asking yourself, “What did I just watch?”

Frank Gaimari is an author and film reviewer in Seattle, where he lives with his husband and their two golden retrievers. You can learn more about his work at http://www.FrankGaimari.com.