The Wasteland Reviewer

Sense and Sensibility (2026) Written Review

Who made some of the most beloved and timeless romances of all time? Jane Austen. All these years later, filmmakers are still being influenced and inspired by these works and want to bring their own perspective and sensibilities (if you will) to these adaptations. This is a hard order to fill especially since there have already been great adaptations that have a lot of love around them. When you take a book like Sense and Sensibility, you already have a 90s adaptation that feels like the quintessential version of the story. But Georgia Oakley (director of the unseen and beautiful Blue Jean) takes the reins with a new raw and grounded take on this timeless tale of sisterhood, class, and romance.

How does Oakley make Sense and Sensibility their own from behind the camera? First off, this is a strikingly beautiful film from start to finish. Plenty of praise is needed to go to Arnaud Potier who shoots the hell out of this film. The way that nature comes to life on screen is downright awe-inspiring. The visuals are both rich and grounded. There are plenty of inspired moments that shine due to dynamic blocking and framing. The intimacy of these character dynamics shines through close-up and inspired angles that allow the audience to see right into these characters.  The overall atmosphere that Oakley crafts is one that is raw, intimate, and poignant. You can feel the texture of every frame with the rustic production and costume designs shining brightly. The film might have its moments that might be a tad slow but there is charm and authenticity in the way that Oakley captures humanity on screen. The music is delightful and rich with composer Roger Goula being a true standout on the technical side of things. The most powerful forces that make this fascinating and engaging adaptation are romance and sisterhood. The poignant nature of both these elements gives the film such powerful weight to it.

How does Diana Reid’s screenplay bring this classic tale to life? From the start of this adaptation, Oakley and Reid want to make sure the audience understands the weight of their adaptation. After the death of their patriarch, the Dashwood sisters (Elinor, Marianne, and Margaret), along with their mother, are left in grief especially when they find out that they are now without money. Kicked out by the “proper” heir and his manipulative wife, the Dashwood women find a new modest home and seek out ways to pull themselves out of this situation…through marriage. The heart of the film is certainly the sisterhood of these three sisters. Pragmatic and grounded, Elinor is a protagonist who the audience can get behind, and her sisters can rely upon. Marianne is more of a sprite whose chaotic nature makes her an engaging, frustrating, and lovable character. Margaret is the youngest but gets her moments to shine too. Reid’s writing expertly paces out the Elinor and Edward Ferrars romance. From their first look, you want to root for them. Austen’s classic romance comes to life in such an authentic and genuine way that never loses your attention. The incorporation of Colonel Brandon and Mr. Willoughby works just as well as the romantic tension of the film is key to the film working so well. But the journey that Elinor and Marianne go on together turns out to be the most affecting element of the whole experience. A nice balance of comic relief characters (like Mrs. Jennings) and plenty of drama make this film work so well. 

How does the cast fit into this beautiful adaptation? At the core of the film, Daisy Edgar-Jones shines brightly. Her natural charisma is palpable as she imbues Elinor with plenty of charm. Her presence is magnetic without being a big, showy performance. There is plenty of subtlety in which Edgar-Jones navigates this role. Elinor is the one who leads this family now and she keeps her emotions tight to the chest. But through some expert facial acting and body language, Edgar-Jones shows the emotional journey that Elinor is navigating. The other half of the main sisterly duo is Esme Creed-Miles who is brilliant portraying Marianne. She has an electricity in her performance that makes her magnetic and screen and a delight to experience as the film goes on. There is a naivety about her worldview that makes her a frustrating character at times, but Creed-Miles never loses connection with the audience. Hot off her semi-starring role in the Jason Statham film Shelter, young Bodhi Rae Breathnach is quite charming portraying young Margaret and gets her moments to stand out. Never in the foreground, Caitriona Balfe is a warm and anchoring presence portraying Mrs. Dashwood. George MacKay is the most British looking man alive, and he is quite charming as well as he brings a strong presence to Edward. Whenever he is on screen, you are reminded why he is so alluring to Elinor. Fiona Shaw is delightfully fun as Mrs. Jennings (which felt like such an inspired role for her). Herbert Nordrum makes for an intense presence as Colonel Brandon and Frank Dillane is such a smug rascal as Willoughby. One of the most special elements of the film is that every minor role just feels perfectly cast. 

Does Oakley’s adaptation make for a worthwhile experience? Austen’s story has never felt more romantic, intimate, and raw. A beautiful film as well making this such a striking experience. The cast is impeccable from top to bottom with Edgar-Jones, Creed-Miles, and Mackay anchoring the whole experience. Sense and Sensibility just might be a film to keep an eye on this fall awards season.