When a film wanders into the shadow of Ang Lee’s beloved 1995 masterpiece and emerges unscathed, it’s no small feat. The new adaptation of Sense and Sensibility, directed by Georgia Oakley, is a thoroughly charming and accessible period piece. Diana Reid writes this script with sharp, contemporary conversation in mind, helping the film in its aim to be an effortless entry point for newcomers to Jane Austen’s world. Yet, for all its warmth, one is left wondering if a refusal to take true stylistic risks will keep this production from leaving a lasting mark on cinema history. 

The film thrives on the effortlessly authentic ensemble work. The chemistry across the entire cast is palpable, centred on a strong sisterly bond between Daisy Edgar-Jones (Twisters, Normal People) as the stoic, practical Elinor and Esmé Creed-Miles (Silver Haze, Pond Life) as the passionate, headstrong Marianne. Edgar-Jones plays Elinor’s emotional containment with extraordinary subtlety. Her internal heartbreak over Edward Ferrars (a wonderfully guarded George MacKay) is communicated in small ways, such as a delicate twitch of her eyes, which matters in such a restrained story. Opposite her, Creed-Miles breathes raw life into Marianne. Her whirlwind romance with Frank Dillane’s charismatic Willoughby has a genuine spark, making her eventual heartbreak feel all the more devastating. 

The supporting characters are just as compelling. Caitríona Balfe brings a real exhaustion to Mrs Dashwood, while Fiona Shaw predictably steals every scene she touches as the verbose yet big-hearted Mrs Jennings. Rather than relying on caricatures, Reid’s screenplay leans into the human vulnerabilities of these roles, allowing the cast to craft characters that feel entirely three-dimensional. 

Visually, the production is immaculate. The costume and set design work hand-in-hand to juxtapose the financial anxiety of the Dashwood women with the suffocating grandeur of London high society. The filming locations across the English countryside are breathtaking, focusing on the natural world, with its pathetic fallacy only mirroring the characters’ woes. This is accompanied by a beautiful score from Roger Goula. 

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However, where the film begins to lose its footing is in its aesthetic ambition. Cinematographer Arnaud Potier delivers a look that is undeniably gorgeous. It’s clean and well lit. But it lacks a distinctive signature voice. Aside from one standout, dynamic sequence, the visual language is quite conventional. 

This brings us to Oakley’s direction. Having proven her talent for quiet character intimacy in Blue Jean, Oakley maintains an engaging, lively pace. Yet, one wishes the filmmaking itself felt a bit more crafted. There is no signature director’s stamp here. There’s no daring subversion of period tropes a la Greta Gerwig’s Little Women, for example. Gerwig reshuffled the story’s timeline and modernised its characters, taking big risks that this safe adaptation generally avoids. 

Ultimately, this 2026 iteration of Sense and Sensibility is quite inoffensive. It’s a crowd-pleaser in the most polite sense, carefully designed not to alienate Austen purists nor intimidate literary novices. Because it refuses to make distinct, provocative choices, one has to ask: will this iteration stand the test of time?

Decades from now, when audiences revisit screen adaptations of this novel, will Oakley’s version be remembered as a classic, or simply filed away as a well-acted, pretty piece for the 2020s? It’s a delightful, thoroughly enjoyable night at the cinema as of now, even if its safe directorial choices keep it from achieving that same quality established by its predecessor. 

★★★★

In UK cinemas from 25th September / Daisy Edgar-Jones, Esmé Creed-Miles, George Mackay, Fiona Shaw, Caitríona Balfe / Dir: Georgia Oakley / Focus Features / U

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Gemma Nettle

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