Esmé Creed-Miles as Marianne and Daisy Edgar-Jones as Elinor Dashwood in Georgia Oakley’s ‘Sense and Sensibility’ (Photo: Focus Features)
Summary
Daisy Edgar-Jones and Esmé Creed-Miles deliver a charming, beautifully grounded Jane Austen adaptation that restores faith in classic period dramas – after what we’ve had to endure lately, be surprised.
I was not expecting much from 2026’s Sense and Sensibility apart from a good Jane Austen adaptation, and that’s what I got and more. The U rating gave it away in terms of experience. I knew that the film was going to play it safe, unlike the disastrous Wuthering Heights, which was more of a TikTok event for broken young people happy for English literature to be destroyed for a director’s fantasy. But despite its safe approach, director Georgia Oakley captures some fine moments that make the film more than worthwhile and well worth its pennies.
First of all, the film recognises the importance of the two sisters. Daisy Edgar-Jones (Fresh) and Esmé Creed-Miles (Hanna) play their counterparts, Elinor and Marianne Dashwood, with natural precision and a sense of homeliness. The script intentionally assumes that the sisters have a strong intuition when it comes to each other’s affairs, making the film’s important moments – usually when a suitor of theirs does not meet expectations – feel effective and heartwarming. Sense and Sensibility does not forget the sisterhood. Capturing the sisters’ connection with each other seals this Jane Austen adaptation. It’s refreshing. I’ve seen many period dramas based on classic fiction, but as cinema evolves, it has to offer something special in its vacuum in order for us to care less about the predictability. Daisy and Esmé offer that.
I did wonder how the film would approach romantic tension too, given, again, the age rating, which I almost feel stupid raising twice. Elinor’s uncertain connection with Edward Ferrars (George MacKay; Marrowbone, Munich – The Edge of War) has surprising momentum. They are apart for most of the film, and that gap before seeing each other again is strongly felt, especially as their relationship is complicated. The characters spotlight the burden between them – honour and desire – in an entertaining equilibrium. Their unspoken words work, proving that well-written scripts trump sensationalist moments. I enjoyed seeing Daisy Edgar-Jones take on a character whose identity relies on securing a match, not only to keep the family intact financially, but also socially – she holds the space with conviction. An appreciation is felt for the character brought to life from a Jane Austen novel.
The dialogue in Sense and Sensibility had me smiling in enjoyment a few times. It’s incredible that modern adaptations of period dramas believe that as long as the English accent is right and “posh,” they’ve succeeded on authenticity, but the language is actually more important. As a purist, I need the cast to believe that they are speaking within those times. In moments of happiness, stress, humour, or a character withholding, words – either unspoken or disguised – need meaning. The director chose patience with the script to ensure the words did the heavy lifting. The clothes flung from the wardrobe department and the specific location shooting are a bare minimum, but it’s important to believe where we are. For two hours, I believed it.
The more I write about this film, the more it dawns on me how well-crafted it is. Knowing, as a director, when to present simplicity can make a reputation. Sense and Sensibility may not draw the sensationalist headlines of Bridgerton, Wuthering Heights, and Saltburn, but it restores confidence in traditional adaptations; that better can be achieved with works that have been adapted repeatedly. Like Hamnet – which destroyed me emotionally, and I still do not understand why it was overlooked – a rawer portrayal is necessary, as there’s more reliance on good performance and direction, rather than style and persuasive cinematography. It’s also possible that my age is showing, but subjectivity is a key crux when it comes to films in this genre.
I kind of adore what Georgia Oakley has done with Sense and Sensibility. Yes, it takes the side screenings at this time of the year, which is raging with blockbusters, but I’d wholly recommend giving this Jane Austen adaptation a chance. Be surprised.