There is something comforting about returning to a Jane Austen story, especially one as familiar as Sense and Sensibility. Having watched Ang Lee’s much-loved 1995 adaptation, I was curious to see how this new 2026 version would approach the Dashwood sisters and their story. I wasn’t quite expecting to enjoy it as much as I did.
The story begins after Mr Dashwood’s death, when the family’s circumstances change dramatically. Under the inheritance customs of the time, the family estate, Norland Park, passes to his son from his first marriage. This leaves Mrs Dashwood and her three daughters, Elinor, Marianne and Margaret, in a difficult position. With little financial security and limited choices available to women, they eventually leave their comfortable home and move to Barton Cottage in Devonshire.
It is a significant change in their lives, and the film follows the sisters as they adjust to a different world, navigate relationships, social expectations, and matters of the heart, while trying to find their own sense of happiness.
The sisters at the heart of the story
What stood out to me most in this adaptation was the relationship between Elinor and Marianne. Their personalities are so different: Elinor is more restrained and practical, while Marianne is emotional, romantic, and inclined to follow her heart. Yet beneath those differences is a genuine affection and understanding.
I felt this version gave their sisterhood a lovely sense of closeness. They may disagree, tease one another, and approach life very differently, but there is an underlying loyalty between them. It is these smaller moments that made the story particularly touching for me.
And then there is the youngest Dashwood, Margaret, played by Bodhi Rae Breathnach. Although she doesn’t receive quite as much screen time as her older sisters, she adds a lovely little spark to the family dynamic. She has that curious, occasionally mischievous nature of a younger sibling, often observing what is happening around her and chiming in with her own rather candid remarks. There is also an innocence to the way she absorbs the conversations and concerns of the adults, sometimes repeating things that are perhaps a little beyond her years. I liked these smaller moments because they make the Dashwood household feel more like a real family, with a younger sister who is cared for, occasionally teased and very much part of their everyday lives. I would have happily welcomed a little more of Margaret on screen.
The cast and performances
Daisy Edgar-Jones brings a quiet composure to Elinor, while Esmé Creed-Miles gives Marianne the emotional intensity and spirited nature the character needs. Both actresses have their own interpretation of the sisters, and I thought the younger cast understood their assignment rather well.
The male characters are also nicely brought to life. George MacKay plays Edward Ferrars, Frank Dillane takes on John Willoughby, and Herbert Nordrum portrays Colonel Brandon. Each brings something different to the story, and I particularly enjoyed seeing these familiar Austen characters interpreted by a new cast.
The performances may not all be equally memorable, but collectively they work well, and the film has a lovely sense of ensemble storytelling.
A different visual atmosphere
One of the things I appreciated most was the cinematography. The film has a beautiful, painterly quality, with muted colours, softer contrasts and an earthy palette that gives the countryside a rather atmospheric feel.
There are lovely details throughout, from the landscapes and woodland scenes to the smaller close-ups of flowers, dewdrops and even cobwebs. These moments give the film a sense of place and make the natural surroundings feel like part of the story rather than simply a pretty backdrop.
The overall look is subdued, almost as though the countryside is permanently caught between rain showers and overcast skies. It reminded me a little of the windswept atmosphere associated with Wuthering Heights. It isn’t particularly bright or colourful, but that is precisely what I enjoyed about it. The visuals have a quiet beauty that suits the emotional tone of the story.
I also liked the contrast between the Dashwoods’ former life at Norland Park and their more modest surroundings at Barton Cottage. The change in their circumstances is reflected in the settings, and the cottage gradually feels like a home filled with its own warmth and character.
How does it compare to the 1995 adaptation?
The 1995 film remains a classic, with its wonderful cast and memorable performances. Emma Thompson’s Elinor, Kate Winslet’s Marianne and Alan Rickman’s Colonel Brandon are difficult to forget.
However, I found myself enjoying several aspects of this new adaptation just as much, if not more. The 2026 version gives the sisters’ relationship a particularly lovely presence, and I appreciated the way it allowed certain family moments and smaller details to breathe.
Rather than trying to replace the 1995 film, I think this version offers a different interpretation of a story that has always had plenty of emotional depth.
What stayed with me
I went into Sense and Sensibility expecting a familiar Austen adaptation, but came away more moved than I anticipated. Beyond the romance and the social expectations of the period, it is a story about family, changing circumstances, resilience, and the unexpected turns life can take.
What I particularly liked was the reminder that a difficult chapter does not necessarily mean the story is over. Sometimes life takes us away from the familiar, and happiness arrives in ways we never quite expected.
It is a beautifully atmospheric adaptation, with a lovely focus on the Dashwood sisters. If you enjoy Jane Austen, period dramas, and films that balance romance with family relationships, I would certainly recommend giving this one a watch.
A thoughtful and visually beautiful new interpretation of a much-loved Austen classic. I still have a soft spot for the 1995 adaptation, but this one has certainly earned its place alongside it.