---
title: "Little Women"
year: 2019
kind: "film"
canonical: "https://film.one/film/little-women"
fi1m_id: "little-women"
imdb_id: "tt3281548"
tmdb_id: 331482
wikidata_id: "Q56881140"
fi1m_score: 83
critics_score: 85
critics_reviews: 32
published: "2026-09-16"
review_updated: "2026-09-19"
updated: "2026-09-19T22:13:56.594230+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Little Women (2019)

Directed by Greta Gerwig · 2h 15m · MPA PG · Drama, Romance

## Identity

Little Women

- **Canonical:** https://film.one/film/little-women
- **Type:** Film
- **Fi1m ID:** little-women
- **IMDb ID:** tt3281548
- **TMDB ID:** 331482
- **Wikidata ID:** Q56881140
- **Same entity:** https://www.imdb.com/title/tt3281548/, https://www.themoviedb.org/movie/331482, https://www.wikidata.org/wiki/Q56881140

**Fi1m score: 83** · Critics 85 from 32 reviews

*In a sentence:* Four sisters, two timelines, one freezing attic, and everybody talking at once

> Greta Gerwig cuts Alcott’s novel into two timelines and lets the March sisters talk over one another, and it works: quick, warm and sharper about money than any version we have seen. The cutting sometimes hurries and the score never stops. We recommend it.

## Synopsis

Jo March (Saoirse Ronan) is living away from home, selling stories to a publisher, Mr. Dashwood (Tracy Letts), who cuts what he does not like and tells her what readers will pay for. Her sister Amy (Florence Pugh) is abroad learning to paint and, her aunt hopes, to marry money; there she runs into Laurie (Timothée Chalamet), the boy who grew up next door. Meg (Emma Watson) is at home with a husband, John Brooke (James Norton), and no money. Beth (Eliza Scanlen) is unwell. Then the film goes back to the sisters’ childhood: four girls, one attic, their mother Marmee (Laura Dern), a father away from home, and the grand, half-empty house across the way where old Mr. Laurence (Chris Cooper) lives with his grandson.

## Review

Greta Gerwig has taken Louisa May Alcott’s novel, which most people can recite in outline, and cut it in two. One half is the sisters’ adult lives: Jo March (Saoirse Ronan) is away from home selling stories, Amy (Florence Pugh) is abroad being taught to paint and to marry well, Meg (Emma Watson) has a husband and no money, and Beth (Eliza Scanlen) is unwell at home. The other half is the childhood, four girls under one roof and their father away. Gerwig cuts between the two on a look or a gesture. We know what happens to these girls, so she gives us the consequences first and asks us to watch the causes with that knowledge in our laps.

It works because of the people doing the cutting and the lighting. Nick Houy edits the joins so they feel like memory rather than a trick: someone in the present thinks of home, and there home is. Yorick Le Saux shoots the childhood in warm yellow, candles and firelight and low winter sun through the windows, and the adult years in a cooler grey, so you always know where you are without a caption. Jess Gonchor’s March house is small and never tidy, coats on chairs, doors open, a mother and four girls and Hannah (Jayne Houdyshell) in rooms built for half that number. Jacqueline Durran puts Jo in waistcoats and boots and lets the sisters pass clothes between them, as sisters do.

Ronan plays Jo as someone who is always talking louder than everyone else and knows it. She runs everywhere, writes lying on the attic floor with ink on her fingers, and when Tracy Letts’s publisher Mr. Dashwood cuts her story and lectures her on what readers want, she argues about the fee. Pugh, though, is the one we kept watching. Amy has been the spoilt sister of this book for a century and a half, and Pugh plays her as the one person in the family who has done the sums. Her speech to Laurie in her studio, laying out marriage as a question of who owns what, moved us more than we expected, because she does not deliver it as a complaint. She delivers it as arithmetic, flatly, while cleaning a brush.

Timothée Chalamet’s Laurie slouches through the film with his collar undone, the rich boy next door who has never been told no by anyone but the March girls, and he is best when he is being turned down. Chris Cooper, as his grandfather Mr. Laurence, has a scene at a piano with Scanlen’s Beth that we would not change a frame of. Laura Dern’s Marmee is quicker to anger than the saint of earlier versions; there is a scene with Jo where she admits as much, and we believed her. James Norton’s John Brooke and Louis Garrel’s Friedrich Bhaer are decent men given about a scene and a half each.

Not all of it holds. The overlapping talk in the March house is a pleasure the first two times and tiring by the fifth; you start to want someone to finish a sentence. The crosscutting that makes the film’s best joins also robs a few scenes of the time they needed, so a quarrel is over before it has started. Alexandre Desplat’s score, piano over strings, is handsome and nearly always on, underlining moments Ronan and Pugh had already made without help. The cast does not visibly age across the years the film covers, so the hair does most of the work and does not always manage. Bob Odenkirk, as Father March, arrives and is given almost nothing to do.

The last twenty minutes do something with the book’s ending that we will not describe, except to say that Gerwig has read the arguments about it and has an answer of her own. Some will find it too clever. We found it an honest way through a problem Alcott never solved. It is the first version of this story we have seen that keeps asking who is paying for what, and the first in which Amy gets a fair hearing.

It is a U certificate and runs 135 minutes, and it does not feel long. Watch it with a sister if you have one. She will tell you which March girl she is, and she will be wrong.

*Fi1m score 83, published 16 September 2026.*

## What the critics say

The reviews are close to unanimous. Almost every critic starts with Greta Gerwig’s decision to break Louisa May Alcott’s story out of its chronology and cut between the sisters’ childhood and their adult lives, and most think it works, giving a familiar novel fresh momentum and a sharper eye on money and women’s ambition. The cast draws the other cluster of praise. Florence Pugh’s Amy is the performance named most often; Saoirse Ronan’s Jo and Timothée Chalamet’s Laurie follow close behind.

Where the critics part, it is over the same structure. Den of Geek finds the crosscutting drains momentum across a long runtime and leaves some supporting characters thin, and Slant Magazine thinks the pacing rushes scenes that need air. Screen Daily, one of the two mixed notices, calls the film over-stuffed and rather pleased with itself, while The Skinny finds it occasionally sentimental. These are quibbles inside a narrow spread: there are no negative reviews at all.

## Straight answers

**Is Little Women worth watching?**

*Little Women* is worth watching for anyone who likes a family drama with quick talk and sharp edges, and we scored it 83. Greta Gerwig cuts the novel into two timelines, and Florence Pugh's Amy finally gets a fair hearing. The overlapping dialogue tires by the fifth round and Alexandre Desplat's score never stops, but it runs 135 minutes and does not feel long.

**How long is Little Women, and what is it rated?**

*Little Women* runs 2h 15m and is rated PG by the MPA in the US. It is a drama and romance film.

**Where can I watch Little Women in the US?**

*Little Women* is streaming on Hulu in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How does Little Women compare to Lady Bird?**

*Little Women* and [*Lady Bird*](https://film.one/film/lady-bird) are both Greta Gerwig films about families arguing warmly over one another, and both are led by Saoirse Ronan. *Lady Bird* is smaller and funnier, a single mother-daughter quarrel; *Little Women* is larger, more crowded and better about money. Pick the earlier film for a tight comedy, this one for four sisters and two timelines.

**Is Little Women based on a true story or a book?**

*Little Women* is based on Louisa May Alcott's novel, not on a true story. Gerwig keeps the sisters and their attic but rearranges the book into two timelines, adult lives and childhood cut together, and her final twenty minutes take a view of Alcott's ending that we will not describe. Knowing the novel helps you feel the joins, but the film stands up without it.

**What should I watch after Little Women?**

After *Little Women*, try [*Lady Bird*](https://film.one/film/lady-bird) (2017, Fi1m 86): Gerwig’s earlier film; a mother and daughter arguing in the same loving, overlapping way. Then [*Sense and Sensibility*](https://film.one/film/sense-and-sensibility) (1995, Fi1m 85): Two sisters, no money, and the marriage market seen clearly; Emma Thompson’s script is exact; and [*Meet Me in St. Louis*](https://film.one/film/meet-me-in-st-louis) (1944, Fi1m 87): A household of girls across four seasons, and a Christmas song sadder than it sounds.

### Reviews we read (34)

- **Little White Lies**, David Jenkins (4/5/5): Gerwig delivers one of the great modern literary adaptations, capturing the emotional essence of the March sisters' lives with technical mastery. The critic highlights the film's romantic realism and ensemble performances as a transcendent achievement. [Read](https://lwlies.com/reviews/little-women)
- **The i Paper**, Demetrios Matheou (★★★★★): Greta Gerwig’s adaptation is a joyful, moving, near-flawless piece of film-making with an outstanding young cast and a modern sensibility that blows a breeze through the period action. It may be the best of the many adaptations of Alcott’s novel. [Read](https://inews.co.uk/culture/film/little-women-review-greta-gerwig-saoirse-ronan-florence-pugh-emma-watson-378566)
- **Time Out**, Joshua Rothkopf (5/5): Gerwig cuts to the thematic essence of sisterhood, coming of age, nostalgia and female liberty with a fresh visual language. The critic singles out Florence Pugh's standout turn as Amy for particular praise. [Read](https://www.timeout.com/movies/little-women-2)
- **Empire**, Helen O'Hara (90/100, inferred): Gerwig’s follow-up to Lady Bird takes an overly familiar story and makes it immediate, important and daring with bold non-linear storytelling that centres grown women and their ambitions. It is the definitive big-screen Little Women thanks to a finale that would delight Alcott. [Read](https://www.empireonline.com/movies/reviews/little-women-2019/)
- **IndieWire**, Kate Erbland (90/100, inferred): The review lauds the film's beautiful performances, impeccable craftsmanship, and Gerwig's ambitious elliptical storytelling that blends tradition with meta modernity. It positions the adaptation as stunning and smart overall. [Read](https://www.indiewire.com/criticism/movies/little-women-review-greta-gerwig-adaptation-1202191341/)
- **RogerEbert.com**, Tomris Laffly (90/100, inferred): The critic praises Gerwig's fresh, non-linear adaptation that respects Alcott while updating it for modern audiences through memory and nostalgia. Strong performances and structural innovation are highlighted as making it a masterly and emotionally resonant film. [Read](https://www.rogerebert.com/reviews/little-women-movie-review-2019)
- **The Hollywood Reporter**, David Rooney (90/100, inferred): Gerwig's take brings freshness, vitality and emotional nuance to the material, shaking up the chronology while respecting its old-fashioned bones and illuminating its proto-feminist perspective. The ensemble shines, led by Ronan's commanding Jo and Chalamet's standout Laurie. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/little-women-1257699/)
- **The New York Times**, A.O. Scott (90/100, inferred): The critic hails the film as a major achievement that is generous, sincere, and full of critical intelligence and honest sentiment. Gerwig's inventive adaptation and the dazzling cast, especially Saoirse Ronan, are singled out for praise. [Read](https://www.nytimes.com/2019/12/23/movies/little-women-review.html)
- **Vulture** (90/100, inferred): Gerwig's non-chronological structure and elevation of Amy alongside Jo demand viewers reconsider the characters and themes of happiness, economics, and gender expectations. The film treats the sisters as rounded individuals with diverging but equally valid paths, culminating in a satisfying, slyly meta ending. [Read](https://www.vulture.com/2019/11/movie-review-little-women-directed-by-greta-gerwig.html)
- **Film Comment**, Imogen Sara Smith (85/100, inferred): The critic highlights Gerwig's meta approach that foregrounds Jo's emergence as an author and stiffens the story's feminist elements while remaining faithful to the era. She singles out the multidimensional portrayals of the sisters, particularly Florence Pugh's Amy and the credible Laurie-Amy romance, along with the film's emphasis on economic realities and female bonds. [Read](https://www.filmcomment.com/phantom-light-portrait-of-a-lady-on-fire-and-little-women/)
- **Los Angeles Times**, Kenneth Turan (85/100, inferred): The critic calls it a splendid version that soars with strong messages and even stronger emotions, highlighting its emotional accessibility, vibrant sisterhood, and Gerwig's nonchronological approach that adds poignancy. [Read](https://www.latimes.com/entertainment-arts/movies/story/2019-11-25/little-women-greta-gerwig-saiorse-ronan-review)
- **Sight and Sound** (85/100, inferred): Gerwig's restructuring of the novel into layers of memory and nostalgia liberates the story while staying faithful to its progressive themes. The critic singles out Florence Pugh's performance as Amy for particular praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/little-women-2019-greta-gerwig-saoirse-ronan-florence-pugh-emma-watson-eliza-scanlen)
- **The New Yorker**, Anthony Lane (85/100, inferred): The review praises Gerwig's raw and startling adaptation for emphasizing women's indignation as a rousing right and for its radical outward gaze balanced with respect for home comforts. It suggests the film may be the best yet made by an American woman. [Read](https://www.newyorker.com/magazine/2020/01/06/greta-gerwigs-raw-startling-little-women)
- **Evening Standard**, Charlotte O'Sullivan (80/100, inferred): Gerwig offers a muscular, moving and often deeply funny reworking of the Louisa May Alcott classic that deconstructs and restructures the tale with meta-twists and a focus on finance as a feminist issue. The film feels like an event whose characters we’ll love for the rest of our lives, despite a few flaws like an invented proposal scene. [Read](https://www.standard.co.uk/culture/film/little-women-review-these-march-sisters-are-not-just-for-christmas-well-love-them-all-our-lives-a4318531.html)
- **The Telegraph** (4/5): Gerwig's reverent adaptation is lavishly respectable and will please fans, with Chalamet as the standout lively character. Minor complaints include an overbusy score and fluctuating haircuts. [Read](https://www.telegraph.co.uk/films/0/little-women-review-electric-timothee-chalamet-greta-gerwigs/)
- **Total Film** (80/100, inferred): Greta Gerwig’s warm, woke take on America’s classic girlhood novel takes liberties but makes a tender, engrossing tale by splitting the sisters’ lives into interwoven timelines that feel fresh and relatable. Florence Pugh’s portrayal of Amy is the film’s star-making turn. [Read](https://www.gamesradar.com/little-women-review-2019/)
- **Variety**, Peter Debruge (80/100, inferred): The review commends Gerwig for a lively, if nonlinear, retelling that does right by the material with a dream cast and shows her aptitude for studio projects. It notes the wholesome, kindhearted tale and strong performances, especially by Ronan and Pugh. [Read](https://variety.com/2019/film/reviews/little-women-review-2-1203407660/)
- **Radio Times**, Flora Carr (75/100, inferred): Gerwig reexamines the love triangle and character dynamics through interwoven timelines, highlighting Amy and Jo as mirrors of each other. The critic notes the film's uncertainty about Jo's ending as a thoughtful ambiguity. [Read](https://www.radiotimes.com/movies/greta-gerwig-little-women-review/)
- **Slant Magazine**, Michael Joshua Rowin (70/100, inferred): Gerwig’s nonlinear adaptation highlights Jo’s perspective and the sisters’ ambitions but can feel rushed and enervating due to rapid pacing in scenes. It includes a clever meta ending that honors the source while addressing social pressures. [Read](https://www.slantmagazine.com/film/little-women-review-greta-gerwig/)
- **Screen Daily** (60/100, inferred): Gerwig's film is a conventional yet lavishly nostalgic retelling that plays to a self-selecting audience with strong performances, especially Florence Pugh as Amy. The critic notes its self-satisfied, over-stuffed qualities alongside its appeal. [Read](https://www.screendaily.com/reviews/little-women-review/5144933.article)
- **The Guardian**, Wendy Ide: Gerwig delivers a respectful yet bracingly current adaptation that brings the March family to life with overlapping timelines and chaotic energy. The critic praises the focus on female fulfilment, creative ambition and the joyful, tumultuous performances, especially Ronan and Pugh. [Read](https://www.theguardian.com/film/2019/dec/29/little-women-review-greta-gerwig-saoirse-ronan-wendy-ide)
- **The Times**, Kevin Maher (★★★★☆): Gerwig's structural audacity and focus on the sisters' relationships make this an instant classic, with standout performances from Ronan and Pugh capturing intense sibling dynamics. [Read](https://www.thetimes.com/culture/books/article/little-women-review-they-may-be-little-but-this-is-great-v6vzbg7wp)
- **HeyUGuys**, Freda Cooper (5/5): Gerwig blends the classic and contemporary with consummate skill, giving the familiar story a refreshing 21st-century approach while retaining its essence. The non-linear structure, stunning photography, and excellent cast—particularly Ronan as Jo and Pugh as Amy—are singled out for praise. [Read](https://www.heyuguys.com/little-women-2019-review-starring-saoirse-ronan-emma-watson-florence-pugh-timothee-chalamet/)
- **Collider**, Matt Goldberg (A): Gerwig's nonlinear adaptation makes the story more cohesive with powerful character arcs and a youthful, lived-in feel. The critic singles out the terrific performances, especially from Florence Pugh and Timothée Chalamet, and the lush cinematography and score. [Read](https://collider.com/little-women-review-greta-gerwig/)
- **Paste**, Ellen Johnson (9.1/10): Gerwig uses compassionate and unexpected storytelling techniques to renovate the beloved tale, cracking open the narrative structure and toggling between timelines for a rhythmic, vibrant result. The performances, especially Pugh breathing new life into Amy, and the film's emotional resonance are highlighted. [Read](https://www.pastemagazine.com/movies/little-women/little-women-review)
- **/Film**, Hoai-Tran Bui (9/10): The critic celebrates the film's warm, big-hearted recontextualization of the story, especially its elevation of Amy as a compelling character. It singles out the vibrant world-building and joyful spirit as standout elements. [Read](https://www.slashfilm.com/571255/little-women-review/)
- **The Playlist** (A-): The critic praises Gerwig's ambitious non-linear adaptation for its modern take on sisterly bonds and Jo's pursuit of dreams. It singles out the strong performances, especially Ronan's Jo, for making the classic feel fresh and emotionally resonant. [Read](https://theplaylist.net/little-women-greta-gerwig-review/)
- **The Wrap** (90/100, inferred): Gerwig puts a new spin on the tale with a non-linear structure and more balanced focus on the sisters, resulting in a moving and meaningful interpretation. The film excels in performances, craftsmanship in scoring and design, and its organic handling of sentimentality and feminist themes without manipulation. [Read](https://www.thewrap.com/little-women-film-review-2019-greta-gerwig-saoirse-ronan/)
- **Consequence** (85/100, inferred): Gerwig brings something new to the classic story with a modern edge, structuring it around all the March sisters for added depth and dimension. The joyous reimagining, emotional explosion from loss to love, and standout performances—particularly Pugh's Amy and Chalamet's Laurie—are praised. [Read](https://consequence.net/2019/12/film-review-little-women/)
- **Deadline**, Pete Hammond (85/100, inferred): Gerwig's adaptation affirms the need for a new version by emphasizing Jo's battle for independence and adding layers about money and gender inequality. The film features immaculate casting, strong performances especially from Ronan and Pugh, and excellent production values that make it feel fresh and relevant. [Read](https://deadline.com/video/little-women-review-greta-gerwig-saorise-ronan-meryl-streep-laura-dern/)
- **Polygon**, Karen Han (85/100, inferred): Gerwig treats the four March sisters as equals without judging their different desires and paths. The critic singles out the film's joyful, earnest energy, uniform cast performances (especially Pugh), and emphasis on kindness over conventional success. [Read](https://www.polygon.com/2019/11/25/20978540/little-women-review-greta-gerwig-saoirse-ronan-florence-pugh-timothee-chalamet-emma-watson)
- **Den of Geek**, David Crow (4/5): The critic commends Gerwig for making the story her own by reframing it as a conversation between past and present, honoring Alcott while adding timeliness and insight into Amy and the Laurie-Amy romance. He notes drawbacks including a lengthy runtime where crosscutting disrupts momentum and some supporting characters feel underdeveloped compared to Ronan and Pugh's standout performances. [Read](https://www.denofgeek.com/movies/little-women-review-greta-gerwig/)
- **Eye for Film**, Anne-Katrin Titze (70/100, inferred): The critic highlights the film's daring non-linear structure and liberating costumes while noting some scenes feel strained or overly broad. It singles out the strong ensemble, particularly Streep's Aunt March and the focus on the sisters' inner lives. [Read](https://www.eyeforfilm.co.uk/review/little-women-2019-film-review-by-anne-katrin-titze)
- **The Skinny**, Kelli Weston (3/5): Gerwig’s version centers the sisters’ adult lives, authorship and autonomy with effective flashbacks. The cast’s chemistry elevates this elegant if occasionally sentimental portrayal of family and sisterhood. [Read](https://www.theskinny.co.uk/film/new-releases/little-women)

## Details

- **Director:** Greta Gerwig
- **Director:** Greta Gerwig
- **Writer:** Greta Gerwig
- **Novel:** Louisa May Alcott
- **Cinematography:** Yorick Le Saux
- **Editor:** Nick Houy
- **Music:** Alexandre Desplat
- **Production design:** Jess Gonchor
- **Costume design:** Jacqueline Durran
- **Producer:** Amy Pascal, Denise Di Novi, Robin Swicord
- **Cast:** Saoirse Ronan as Jo March; Emma Watson as Meg March; Florence Pugh as Amy March; Eliza Scanlen as Beth March; Laura Dern as Marmee March; Timothée Chalamet as Laurie; Tracy Letts as Mr. Dashwood; Bob Odenkirk as Father March
- **Runtime:** 2h 15m
- **Certificate (MPA):** PG
- **Release (the US):** 25 December 2019
- **Genres:** Drama, Romance
- **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 2019)
- **Budget:** $40 million
- **Box office:** $332 million
- **Trailer:** https://www.youtube.com/watch?v=AST2-4db4ic

## Where to watch in the US

- Hulu: streaming, uhd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: buy $14.99, uhd
- Apple TV: buy $14.99, hd

*Checked 2026-09-19.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2020: Best Picture (nominated); Best Costume Design (won)

## If you liked this

- *Lady Bird* (2017), Fi1m 86: Gerwig’s earlier film; a mother and daughter arguing in the same loving, overlapping way. — [Fi1m page](https://film.one/film/lady-bird.md)
- *Sense and Sensibility* (1995), Fi1m 85: Two sisters, no money, and the marriage market seen clearly; Emma Thompson’s script is exact. — [Fi1m page](https://film.one/film/sense-and-sensibility.md)
- *The Makioka Sisters* (1983): Four Osaka sisters and a family fortune running out, watched across a year of seasons.
- *Meet Me in St. Louis* (1944), Fi1m 87: A household of girls across four seasons, and a Christmas song sadder than it sounds. — [Fi1m page](https://film.one/film/meet-me-in-st-louis.md)
- *Mustang* (2015), Fi1m 84: Five sisters shut in a house on the Black Sea, and the one who will not stay. — [Fi1m page](https://film.one/film/mustang.md)

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/little-women