When Sense and Sensibility was first published in 1811, Jane Austen did not receive author credit by name. Instead, the byline simply read, “By a Lady.”
More than two centuries later, as I sat and watched the 2026 retelling of this classic tale of romance, I found myself less focused on the twists and turns of unrequited love and marriage matchmaking. Instead, I was struck by how little control women had over their own destinies. Their financial security depended on a man, whether a father, brother, or husband. Without financial independence, women could find themselves vulnerable to circumstances they had little power to change.
At first, I thought to myself, how nice, what simple times. No cell phones, no concern about the algorithm or unanswered emails. But there is nothing simple about having to find a match just to ensure a roof over your head and food on the table.
Luckily, it’s 2026, and much has changed. Women have greater financial independence and control over their futures. But some things remain remarkably familiar: how we fall in love, seek it out, battle heartbreak, and navigate everything in between.
Somehow, this retelling of Jane Austen’s tale seamlessly weaves these themes of dependence into the most beautiful love stories. Between Georgia Oakley’s graceful direction, Arnaud Potier’s enchanting cinematography, Grace Snell’s costume design, and Nadia Stacey’s realistic, period-appropriate hair and makeup design, Sense and Sensibility is a glorious film. Producer India Flint sought out Australian author Diana Reid to pen the screenplay.
Like many period films, the score drives the movement of the story. Roger Goula’s score delivers emotional depth, narrative sensitivity, and an unmistakable sonic identity. His past work with dancers shines through. The score perfectly complements Holly Blakely’s unique take on traditional Regency country dancing. The addition of contemporary movement lends itself to the emotional states of the characters as they dance.
The cast is stellar, and credit must also go to casting director Kharmel Cochrane.
While Daisy Edgar-Jones is lovely in the role of Elinor, the eldest Dashwood sister, it’s Esmé Creed-Miles who steals the screen as Marianne Dashwood. Her performance is 100% human, capturing all the nuances of a young woman’s desire for true love. Fiona Shaw is brilliant as the vibrant, ever-giggling Mrs. Jennings.
George MacKay and Herbert Nordrum are perfectly cast as Edward Ferrars and Colonel Brandon, respectively. Nordrum’s subtle performance lends itself beautifully to his character’s shy demeanor.
I’m not always one for reboots, but I didn’t compare this film to Ang Lee’s 1995 version of Sense and Sensibility once.
This stands alone as a fantastic film.
https://www.focusfeatures.com/sense-and-sensibility
In theaters October 16.
