Dir: Olivia Wilde
Cast: Seth Rogen, Olivia Wilde, Penelope Cruz, Edward Norton
This hilariously perverse yet sophisticated four-hander is a masterclass in marital awkwardness, boasting a script so witty and progressive it allows its quartet of stars to deliver some of the best work of their careers
After her second directorial outing, “Don’t Worry Darling”, split critics and audiences in 2022, it seems many have forgotten just how sharp Olivia Wilde‘s filmmaking instincts were in her debut, the riotous “Booksmart”, only three years earlier. The hilarious teen comedy, often dubbed the female “Superbad”, broke new ground by upending high school stereotypes and introducing a refreshingly diverse cast of characters who shattered genre conventions. It was a true standout of 2019, and I was buzzing with anticipation when Wilde announced her next project. Despite “Don’t Worry Darling” being plagued by rewrites, rumours of on-set drama, and re-castings, Wilde’s directorial eye remained undeniable. Sure, the film stumbled with narrative missteps and a final twist that undercut its feminist message, but her worldbuilding, technical flair, and visual storytelling still shone through. Even with a flawed script, Wilde’s direction nearly rescued the film.
Which brings me to “The Invite”, Wilde’s third directorial venture. Despite my lingering doubts after her last film—mostly due to Harry Styles‘ wooden lead performance and Katie Silberman‘s misjudged script—I still counted it among my most anticipated releases of 2026. The marketing campaign oozed intrigue and mystery, and with an A-list cast plus A24 distributing, my anticipation soared. The film is an English-language remake of the 2020 Spanish movie “The People Upstairs”, itself adapted from filmmaker Cesc Gay‘s own play. Though I have not seen the original, its repeated adaptations across languages speak to the universal resonance of its intimate, stage-like setting and its exploration of modern relationships, sexuality, and freedom.
I am a sucker for a good single-location film that lets dialogue and performances take centre stage, and “The Invite” is no exception, already establishing itself as an early contender as my film of the year. The only time we step outside the film’s primary setting is in the opening, where we first meet Joe (Seth Rogen), a disgruntled, washed-up musician surveying an orchestra at the music college where he works. After pedalling home across what feels like all of San Francisco, Joe is caught off guard when his stay-at-home wife, Angela (Olivia Wilde), announces she has invited their upstairs neighbours for dinner that night.
With their marriage already teetering, Joe and Angela bicker about the evening ahead, Joe threatening to finally address the nightly symphony of sex noises from upstairs. Their argument is cut short when their neighbours arrive: Pina (Penelope Cruz), a sexologist, and Hawk (Edward Norton), a retired firefighter. Joe and Angela are woefully unprepared—no wine, no idea about Pina’s dietary needs—and the dinner quickly devolves into awkwardness. When their guests reveal their sex-positive lifestyle, the night spirals, forcing Joe and Angela to confront the cracks in their own relationship.
Before diving into the film’s technical brilliance or standout performances, I have to say: “The Invite” is hands down the funniest film you will see this year. Comedy has become a rare gem lately, especially the genuinely hilarious kind. With horror dominating the box office, Hollywood seems to have forgotten how to make audiences laugh, so a film that had my entire cinema roaring was a revelation. Blending progressive, sophisticated adult dialogue with four stars firing on all cylinders, “The Invite” bombards you with razor-sharp one-liners, clever visual gags, and smart, unapologetic humour. It is easily my favourite cinematic experience of the year.
Olivia Wilde showed with “Booksmart” that she can land every comedic beat with precision, and though she veered away from comedy in “Don’t Worry Darling”, she returns to the genre here with infectious energy and style. She strikes the perfect balance: the humour never overstays its welcome, and there are just enough dramatic pauses and reflective moments to let the characters breathe. Wilde also sidesteps the pitfalls of stage-to-screen adaptations, making the film feel cinematic even though most of it unfolds in a single apartment. Through fluid tracking shots, we explore Joe and Angela’s sprawling home, which almost becomes a character in its own right, its décor reflecting Angela’s creative spirit—a passion she has never been able to pursue professionally. This setting lets us peer deeper into their troubled marriage, as Joe remains oblivious to Angela’s artistic efforts, from her paintings to her choice of wall colours. Wilde uses clever framing to highlight the couple’s emotional distance, often placing them on opposite sides of walls or windows, adding a voyeuristic thrill as if we are peeking into their private world, uninvited.
Wilde’s cast delivers across the board. Seth Rogen, the natural comedian of the four, naturally gets most of the best lines, but he also brings a prickly immaturity that contrasts sharply with Ed Norton’s Hawk, who radiates enigmatic, free-spirited confidence. Joe’s jealousy of Hawk is palpable, while Angela is captivated by Pina, whose sexuality, beauty, and unapologetic ability to reach orgasm become a source of inspiration. Wilde herself is outstanding as Angela, the anxious half of the troubled couple, always teetering on the edge of a breakdown despite her desperate attempts to play the perfect host.
Norton and Cruz are equally brilliant, with Norton especially shining as a man so at ease with himself that he is blissfully unaware—or unconcerned—about how he is perceived, often upending the room’s energy. With all four leads working from a razor-sharp script by Will McCormack and Rashida Jones, “The Invite” is pure comedic gold. I am now eager to explore the many international versions of the story to see how its humour and themes resonate across cultures and language barriers.
They just do not make old-school, adult comedy-dramas like this anymore. “The Invite” is an absolute must-see on the big screen and will surely stand out as one of 2026’s best, even if it risks being overshadowed by summer blockbusters like “Toy Story 5”, “Minions”, “Moana”, “Spider-Man: Brand New Day”, and “The Odyssey”.
The Invite is now showing in UK Cinemas
Dan Loves Film 
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