Old School. Biblically Independent.
By Mae Abdulbaki | Film | October 20, 2026
It may not be as popular as Pride and Prejudice (the 2005 version holds a special place in my heart), but Sense and Sensibility is pretty up there with the best of Jane Austen’s novels. Like the former, it’s had a plethora of adaptations, the most popular among them being the 1995 adaptation starring Emma Thompson and Kate Winslet. As such, it’s hard not to walk into the 2026 adaptation with certain expectations, but I’m thrilled to confirm that the new film, directed by Georgia Oakley from a screenplay by Diana Reid, is beautifully told, capturing the essence of the story while making it its own cinematic experience.
The story begins with a big change for the Dashwood family—Mrs. Dashwood (Caitríona Balfe), Elinor (Normal People star Daisy Edgar-Jones), Marianne (Esmé Creed-Miles), and Margaret (Bodhi Rae Breathnach)—who have recently lost their patriarch and are being thrown out of their family home to accommodate their complacent half-brother (Tom Brooke) and his annoyingly snooty wife (Stacy Martin). While Elinor doesn’t publicly announce her feelings to Edward Ferrars (George MacKay), who is just as emotionally reserved as she is, Marianne is a free spirit who boldly tells Colonel Brandon (Herbert Nordrum) that he basically has no passion and is uninteresting. Naturally, the four characters interact over the course of the film and deepen their feelings for one another.
Sense and Sensibility perfectly encapsulates not only the magnificence of nature but the importance of the characters enjoying it. The opening scene sees Marianne basking in the sun, and she and her sisters often go for walks in the countryside. I mention this because it adds so much to the story, and the outside world becomes just as important to the characters’ lives as their interiority. It also allows cinematographer Arnaud Potier to put the gorgeous scenery on display, playing with the contrasts of the sky and the costuming (which is also fantastic). It makes for a striking cinematic ambiance that fits the narrative so perfectly. Even the film’s framing is exquisite, adding an elegance to its presentation that is unrivaled among romantic films in recent years.
One of the biggest things that draws me to Austen’s work is the yearning that is so deeply baked into her stories. Period pieces fare better when it comes to the insurmountable weight that can come from desiring another person without release, but pining after someone should be crucial to all romances. It’s a good way to pull us into a character’s emotional perspective without relying so much on exposition. And Sense and Sensibility does that wonderfully. It’s emotionally immersive, and yes, there are stakes, yet it’s content to live in a partial state of tender contemplation.
Austen’s work explores class and societal rules, gendered expectations, and false perceptions of others, among other things. Her characters are relatable, equally headstrong and gentle, usually contrasted by the differing personalities of sisters such as Elinor and Marianne. Oakley and Reid respect these themes by exploring them with an aching tenderness and sense of joy and warmth. This is all on top of being occasionally and endearingly funny, largely thanks to Fiona Shaw’s delightful turn as Mrs. Jennings.
But while the story elements can all be in place, Sense and Sensibility wouldn’t have worked without the cast’s strong performances and chemistry. Edgar-Jones is a force. She imbues Elinor with reservedness that isn’t necessarily shy, nor is her personality diminished thanks to her fortitude. She has a strong moral compass and wit, carrying with her an emotional sensitivity and sense of care that is mature yet somewhat punishing. Creed-Miles is wonderfully brash and unforgiving in a way that only a young person can be, but she loves deeply and hurts openly. The juxtaposition between the sisters is well-played.
Nordrum and MacKay are also excellent. As Edward, MacKay is adorably awkward and flustered, but self-assured in his devotion to Elinor. He has convictions and displays a kindness and loyalty that almost feels fantastical at times (in a good way). Nordrum is confident but not boastful as Colonel Brandon. His character doesn’t push back against Marianne’s presumptions, but his facial expressions suggest there’s something more lingering beneath the surface. The character interactions are some of the highlights of an incredibly memorable film.
The film not only prioritizes its romances but also its sibling bonds, and the payoff is lovely. Sense and Sensibility is one of the best adaptations of Austen’s work. It’s romantic, funny, deep, and stunning to look at. I will be revisiting this one for a good long time.
Sense and Sensibility is now playing in theaters.
