Review: Sense and Sensibility (2026)

By Emily Hatwell

Georgia Oakley’s recent rendition of Jane Austen’s debut novel was a pleasing if slightly confused confection of a film, an adaptation well-suited to the 2020’s landscape of artistic book adaptations. The film principally follows the Dashwood family after the death of their father and their subsequent move from the family estate. The eldest sister – Elinor (Daisy Edgar Jones) – is the model of polite restraint (ie: sense), while the middle sister Marianne (Esmé Creed-Miles) exemplifies the Regency notion of sensibility in their romantic lives.

A pleasing if slightly confused confection of a film

Daisy Edgar Jones’ leading performance was a key highlight; she carried the emotional highs and lows of the film with skill, personifying the character without ever feeling like a copy of prior performances. Esmé Creed-Miles matched this with a uniquely unlikable take on Marianne Dashwood, which allowed space for the character to develop and grow, instead of the typically wronged damsel take that is normally done.

The love interests, Mr Ferrars (George MacKay), Mr Willoughby (Frank Dillane), and Colonel Brandon (Herbert Nordrum), were similarly represented by strong performances, even if they do not hold a candle to 1995’s film, with Hugh Grant, Greg Wise, and Alan Rickman respectively. This is only slightly marred by a slight penchant for shouting by Nordrum, which shortly wears thin and diminishes the efforts to make the character appear intimidating.

A potential sticking point for many would likely be the script, namely the changes made from Jane Austen’s novel. Some of these proved to be discordant with not only with the original book, but also the film. I can think of a particular scene which was not only overly dramatic, but raised the stakes quickly without warning, creating a tonal disconnect. The unfortunate result of this was my giggling in my seat at a supposedly serious scene.

Anachronisms aside, Oakley’s direction was visually stunning. There was an earthiness to the film, whether it was the sets, costumes, or imagery, which was further captured by lingering shots placed in nature. Remarkably similar to Chloe Zhao’s recent film Hamnet, this created an atmosphere that feels uniquely grounded.

Oakley’s direction was visually stunning

For those doubtful of the purpose of this adaptation, think of this film as Joe Wright’s 2005 Pride and Prejudice, with 1995 Sense and Sensibility as the equivalent to the BBC Pride and Prejudice mini-series. Both versions have their place, because they both have their own merits and will appeal to different viewers. Overall, this is a must-view for an Austen fan, but perhaps not for a purist.

Image: SWinxy via Wikimedia Commons