Published on March 31, 2026
Some films generate their own atmosphere. “The Full Monty” was one such movie that created a frisson of excitement in cinemas before the rolling of the opening credits. “Titanic” achieved it too, as did “Calendar Girls,” “Top Gun: Maverick,” and “Barbie.” They transcended the film experience, turning their screenings into events.
Sitting in Dublin’s Savoy Cinema the night before Valentine’s Day, it becomes clear that Emerald Fennell’s “Wuthering Heights” is one of those movies. The buzz of excited chatter in the theater is reminiscent of the uproar during the stoning scene in “Monty Python’s The Life of Brian.” This energy is oddly fitting for a film that commences with a crowd relishing the spectacle of a public hanging.
Fennell, who has crafted what may possibly be the 17th movie version of Emily Brontë’s novel, sets her tone from the very start. The initial sequence features sexually provocative imagery, including a nun begrudgingly enjoying the sight of a hanging man’s erection after chastising two boys who’ve noticed it. Additionally, there’s a passionate couple making love in the open air amid dampness and squalor, and the crowd is drawn to the sheer cruelty of witnessing a man writhing in anguish.
This opening immediately establishes why Warner Bros has placed quotation marks around the title of Fennell’s film. This is not a literal adaptation of Brontë’s classic romance, but a reimagined interpretation for a contemporary audience. Whether viewers embrace this version or not largely depends on their tolerance for its bold choices.
In Fennell’s retelling, she eliminates Cathy’s brutish older brother Hindley, fusing his character into the reckless portrayal of Mr. Earnshaw, played . A widowed father plagued , Mr. Earnshaw embodies his sorrow through heavy drinking and gambling, ultimately allowing his family farm, Wuthering Heights, to dwindle. His daughter, played , finds herself under the care of Nelly, a servant portrayed .
The storytelling pivots when Mr. Earnshaw brings home Owen Cooper’s wild young boy, whom he has encountered during a public confrontation with the boy’s negligent father. Naming him Heathcliff, Cathy instantly takes a liking to him, and Earnshaw encourages her to treat the boy like a “pet.” Their bond deepens amidst beatings and misfortunes, reflecting the harsh realities of their world.
As adulthood approaches, their connection is tested of the affluent Lintons, neighbors who offer Cathy a chance at wealth and privilege. After a mishap while spying on Edgar Linton and his sister discussing “Romeo and Juliet,” Cathy recuperates at their opulent mansion. During her six-week recovery, unrest brews within Heathcliff, and when Cathy ultimately accepts Edgar’s marriage proposal, fate encourages Heathcliff’s departure from Wuthering Heights.
Cathy, heartbroken ’s absence, chooses to pursue a life of luxury with Edgar and Isabella Linton, but the wealth only raises questions about whether it can replace her true affection for Heathcliff when he returns transformed .
Like Fennell’s previous films “Promising Young Woman” and “Saltburn,” this adaptation is bound to divide audiences sharply. Purists of Brontë’s original work may feel betrayed, while Fennell’s loyal fanbase may revel in her audacious choices. Personal sentiments may fall somewhere in between.
Visually, the film is nothing short of stunning, with Linus Sangren’s cinematography and Suzie Davies’ production design achieving a standard few films can match this year. Fennell and her team craft numerous visual nods to Victor Fleming’s “Gone With The Wind,” one of the film’s primary influences. However, it also resonates with works like Mervyn Le Roy’s “Random Harvest” and Francis Coppola’s “Bram Stoker’s Dracula,” among others.
Yet, for the film to truly succeed, Fennell cannot rely solely on striking visuals. While no literary text is off-limits when it comes to adaptations, one must question the narrative liberties she has taken. On this front, “Wuthering Heights” emerges as a mixed bag.
Elevating the themes of lust and desire is an approach that adds intrigue, yet sometimes it crosses the boundary into excess. Moments like characters engaging in public displays on a clifftop or witnessing sadomasochistic encounters in stables seem to push sensationalism for the sake of shock value rather than enhancing the storyline. Are such elements, akin to the more eyebrow-raising scenes in “Saltburn,” meant to establish Fennell as a provocateur in the vein of cinematic rebels like Ken Russell or Lars Von Trier? History shows that there comes a time when shock tactics lose their power and become blunt and unremarkable.
Robbie and Elordi share a palpable on-screen chemistry, yet they grapple with the superficiality of Fennell’s extravagant storytelling. While the performances Edgar and Hong Chau as the older Nelly stand out for their restraint, Clunes is given the freedom to deliver a performance unlike anything he has shown before. Notably, Oliver’s portrayal of Isabella delivers a poignant contrast as the tenderly mistreated character.
However, every strong performance is somewhat overshadowed by a film that prioritizes spectacle over depth. With Charlie XCX contributing to the soundtrack, the end result feels more akin to an extended pop music video than a faithful adaptation of Brontë’s intricate narrative. In this light, Fennell’s “Wuthering Heights” finds itself in a precarious position, struggling to balance artistic ambition with genuine substance.
“Wuthering Heights” was released in UK and Irish cinemas on February 13, 2026.
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