The newest adaptation of Jane Austen’s remarkable novel “Sense and Sensibility” hit theaters on Oct. 16. Arriving 31 years after Ang Lee’s Oscar-winning adaptation, the emerging director Georgia Oakley blows away audiences with her most profound film yet.
The beautiful backdrop of both pastoral and coastal England paints the background of this film. Daisy Edgar-Jones leads the cast as Elinor Dashwood, the eldest sister of three who are recovering after their father’s untimely death. British actress Esmé Creed-Miles plays her sister, Marianne, whose brutal honesty, unwavering heart and youthful ignorance are brought to life with both grace and humor.
The two remaining Dashwoods are celebrities in their own right, as notable “Outlander” (2014-2026) actress Caitríona Balfe plays the kind-hearted mother of the family, perfectly balancing heartache and unwavering love for her daughters. Their youngest sister, Margaret, is played by Irish child actress Bodhi Rae Breathnach, who most notably played the eldest daughter in Chloé Zhao’s 2025 period piece “Hamnet.”
The film follows Elinor and Marianne as they try their attempt at love in the strict Georgian era, where marriage is built upon class rather than genuine connection. They begin to truly understand each other as sisters, connecting more in their times of strife than at any other time in their lives prior.
Elinor first meets Edward Ferrars (George MacKay) after the death of her father and the later transfer of his estate. Ferrars and Elinor have phenomenal chemistry and feel as if they were made for each other, a romance that is brought to life by both Edgar-Jones and MacKay.
Marianne’s trials and tribulations are complex, as she has to fight feelings for two different men: the stoic, deeply troubled Colonel Brandon (Herbert Nordrum), as well as the more energetic and wild Mr. Willoughby (Frank Dillane) (who notably carries Marianne from the beach to her house after a fall).
While “Sense and Sensibility” is a classic novel, Oakley truly breathes new life into the story through her adaptation. The flawless editing and gorgeous cinematography situate each character perfectly within each shot or scene. The blocking, in particular, makes some shots feel like magnificent oil paintings of the era.
The unsung hero of the film is its composer Roger Goula, whose beautiful orchestral score reaches the heights of past adaptations of Austen’s stories. The emotional tension from the strings balanced with the tenderness of the piano mix perfectly on screen, adding an auditory elegance to the film’s visual beauty.
Oakley’s newest film, not unlike “Hamnet” or Greta Gerwig’s “Little Women” (2019), offers an engaging exploration into the role of women of the eighteenth century, and how these themes can connect to the modern day. In any case, it’s a film that will stick with both fans of Austen’s work as well as cinema lovers who need to get their period piece fill in 2026.
This article was edited by Faith Starchia, Jessica Ackerman and Gabrielle McNamee. Copy editing by Avery Grossman, Arin Burrell, Jaden Maitland Anderson and Ryan Sieve. Fact-checking by Josie Burnette.
