This article examines 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. It is also demonstrated how misunderstandings can permeate only a single layer or both layers of film communication.