This paper explores the construal, cross-cultural relay and comprehension of misunderstandings by filmmakers, translators and audiences respectively of Bridget Jones’s Diary (2001) and Bridget Jones: The Edge of Reason (2004). It reports on findings of a case-study on implicatures in these two romantic comedies (Desilla 2009/2012/2014). Both genuine and feigned misunderstandings are found in the two films. Inter alia, the analysis will show that misunderstandings can serve comedic and/or narrative functions, the latter pertaining to both characterisation and, more crucially, plot advancement.