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The film 'The Idiot(s)' offers a unique take on Dostoevsky's life and marriage, diverging from standard biopics.

Polish filmmakers Małgorzata Szumowska and Michał Englert have premiered their film, The Idiot(s), which presents an irreverent perspective on the life of respected Russian author Fyodor Dostoevsky. Announced through a review by Variety on September 5, 2026, the film stars Johnny Flynn as Dostoevsky and Aimee Lou Wood as his wife, Anna. This biographical dramedy covers a finite and tumultuous period of Dostoevsky's life, distinguishing itself from traditional portrayals that often lean towards hagiography.
The Idiot(s) is notable for focusing on Dostoevsky's vulnerabilities and flaws, offering an unconventional portrayal that strips away the grandeur typically associated with literary figures. Viewers see a man grappling with addiction and self-sabotage, making him appear closer to his troubled characters than a dignified intellectual. Through humor and raw authenticity, Szumowska and Englert create a narrative that invites audiences to re-evaluate the dichotomy between an artist's work and their personal failings.
The film depicts Dostoevsky's tumultuous marriage with Anna in a way that highlights both love and struggle. Anna, portrayed by Wood, emerges as a crucial character whose resilience is pivotal to the story. As Dostoevsky confronts financial instability and personal demons, Anna supports him, cultivating a relationship that balances strength and complexity.
The filmmakers base their story partly on Andrew D. Kaufman’s book, The Gambler Wife: A True Story of Love, Risk and the Woman Who Saved Dostoevsky, emphasizing Anna’s role and the moral dilemmas involved. The dynamic between the couple becomes the heart of the film, adding depth to both characters that are often lacking in historical depictions.
Not only does The Idiot(s) delve into Dostoevsky’s personal life, but it also addresses societal issues of its time through a satirical lens. With scenes that critique the moral decay of the aristocracy, the film emphasizes the contrast between Dostoevsky’s struggles and the opulence surrounding him. This backdrop enhances the narrative filled with humor and thoughtful commentary on class and artistry, appealing to contemporary audiences who may feel disenfranchised by traditional narratives.
The humor, described as scatological by Variety, disrupts the expected solemnness of historical dramas. The irreverent tone invites viewers to see a more relatable side of Dostoevsky, reducing the distance often created by biographical reverence.
Also noteworthy are the film's creative soundtrack choices, including an anachronistic rendition of A-ha’s Take on Me. Incorporating modern elements in a period piece serves as a playful device, further bridging the gap between the past and present, emphasizing the timelessness and relatability of Dostoevsky’s struggles.
The Idiot(s) is a bold reimagining of a literary icon's life, aiming to humanize Dostoevsky while challenging conventional biopic narratives. This film could resonate with audiences who value character depth and nuanced storytelling over mere glorification. By focusing on the imperfections of its protagonists, The Idiot(s) encourages a dialogue about the role of an artist's flaws in their creative legacy.
For more context on the film and its creators, consider exploring previous works by Szumowska and Englert, such as Never Gonna Snow Again and Infinite Storm. Additionally, for more insights into unique film adaptations, check out our coverage of Danny Boyle’s ‘Ink’ and *Mike Leigh’s 'Tender Loving Care'.
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