“The Bride!” lampshades its own mass derision.

In the final minutes of this new movie, Annette Bening chews up a monologue that concludes with the sentiment, “Society relies on obvious boundaries, but we wanted to experiment with disobedient geometry.”

As in, she and her dead hubby refused to conform to the clear shapes and packaging that The People want. 

And then she explains that The Bride is one such example of their Disobedient Geometry. 

Both the character, and the movie.

You know, because she’s the literal title. 

And 2026’s The People have responded to “The Bride!” as “The Bride!” predicts.

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Speaking of titles…

A title card can be different than the title used in trailers, posters, marketing materials, IMDB, Fandango, Google, Wikipedia, etc.

Personally, I consider the title card to be the true(r?) name, because it’s what’s in the actual movie, on screen. 

And, weirdly (befitting their weirdness), the title cards for “The Bride!” AND “Wuthering Heights” include quotes around their titles.

Perhaps notably and relatedly, both movies are alienating and messy, directed by women, led by not conventionally-likable dames based on classic characters, ultimately received with disappointment.

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Speaking of Disobedient Geometry, “The Bride!” and EPiC: Elvis Presley in Concert disobey static geometry when it comes to their IMAX aspect ratios. 

Every shift feels intentional in “The Bride!”, especially during mere dialogue exchanges, an indicator that there’s meaning to be mined in considering the relationship between the varying sizes of the frame and whatever’s happening within those frames.