--- title: "Sense and Sensibility" year: 2026 kind: "film" canonical: "https://film.one/film/sense-and-sensibility-2026" fi1m_id: "sense-and-sensibility-2026" imdb_id: "tt13609648" tmdb_id: 1503762 wikidata_id: "Q135436961" fi1m_score: 73 critics_score: 70 critics_reviews: 20 published: "2026-10-22" updated: "2026-10-22T01:48:07.753751+00:00" region: "SK" 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." --- # Sense and Sensibility (2026) Directed by Georgia Oakley · 2h 12m · Drama, Romance ## Identity Sense and Sensibility - **Canonical:** https://film.one/film/sense-and-sensibility-2026 - **Type:** Film - **Fi1m ID:** sense-and-sensibility-2026 - **IMDb ID:** tt13609648 - **TMDB ID:** 1503762 - **Wikidata ID:** Q135436961 - **Same entity:** https://www.imdb.com/title/tt13609648/, https://www.themoviedb.org/movie/1503762, https://www.wikidata.org/wiki/Q135436961 **Fi1m score: 73** · Critics 70 from 20 reviews *In a sentence:* The sisters could do with fewer suitors and rather more time together > The Dashwood sisters give this sober romance its warmth, and the central performances make it worth an evening. Uneven courtships and a shortage of humour keep it from being quite as engaging as it should be. ## Synopsis Elinor Dashwood (Daisy Edgar-Jones) and Marianne Dashwood (Esmé Creed-Miles) navigate courtship alongside their relationship as sisters. Elinor’s connection with Edward Ferrars (George MacKay) develops quietly, while Marianne is more open about her desires. John Willoughby (Frank Dillane), Colonel Brandon (Herbert Nordrum) and Mrs. Jennings (Fiona Shaw) belong to their wider social circle. The sisters’ differing temperaments shape how they respond to love and to each other, with family affection remaining central to both women’s stories. Georgia Oakley directs this period adaptation of Jane Austen’s novel from a screenplay by Diana Reid. ## Review Georgia Oakley’s [*Sense and Sensibility*](https://film.one/film/sense-and-sensibility) works best when it concentrates on the Dashwood sisters. This is a good, sometimes over-solemn romance, worth seeing for Daisy Edgar-Jones and Esmé Creed-Miles. The affection between Elinor Dashwood and Marianne Dashwood feels convincing enough to hold our attention even when the courtships do not. Making that closeness central gives the adaptation a clear purpose, though it need not have been quite so sparing with the jokes. Daisy Edgar-Jones gives Elinor Dashwood a restraint that does not make her seem unfeeling, while Esmé Creed-Miles allows Marianne Dashwood’s passions to be inconvenient as well as appealing. Neither performance needs the other sister to look foolish in order to make sense. We were moved by their tenderness towards each other; the difference in their temperaments never makes them seem like strangers sharing a surname. Esmé Creed-Miles is particularly good at making an excess of feeling seem entirely reasonable to the person experiencing it. The men are a less even collection. George MacKay brings a gentleness to Edward Ferrars that suits Daisy Edgar-Jones, and their rapport makes a quieter attraction persuasive. Frank Dillane finds humour in John Willoughby, providing welcome company in a film that can be rather determined to remain serious. Herbert Nordrum’s Colonel Brandon is less convincing: the reserve feels awkward, and we struggle to find much warmth behind it. That unevenness matters when a romance asks us to care about several attachments. Fiona Shaw’s Mrs. Jennings helps with the shortage of amusement. She brings welcome liveliness, and her presence makes the prevailing solemnity seem more like a choice than a necessity. Diana Reid’s screenplay is earnest about the sisters’ feelings, but less effective at finding comedy in the people around them. A little more social mischief would have helped, particularly when the romantic relationships are not compelling enough to carry our attention on their own. Arnaud Potier’s cinematography gives the period setting a muted, unshowy appearance, supported by Francesca Di Mottola’s production design. The surroundings feel inhabited rather than arranged solely for us to admire them, which helps the performances. The compositions are carefully considered, although the grey tones can become monotonous and make different emotions look much the same. There is pleasure in this less decorative approach to period romance, but the pictures sometimes insist on melancholy more firmly than the performances require. At 132 minutes, the film occasionally feels longer than its material demands. The pace of Izabella Curry’s edit sometimes seems too cautious for Esmé Creed-Miles, whose energy suggests a livelier film. Roger Goula Sarda’s music cannot quite make the less convincing courtships matter, although the difficulty is chiefly in the characterisation and casting. The sisters remain engaging enough to keep the slower passages from becoming a serious obstacle. A period romance can accommodate awkwardness, desire and a sense of humour without sacrificing tenderness. Georgia Oakley handles the tenderness most securely, particularly between the two women whose affection makes the romantic disappointments worth caring about. Their differences give the film more interest than its consistently sober manner suggests. Give it an evening if the bond between sisters interests you as much as the question of who marries whom. *Fi1m score 73, published 22 October 2026.* ## What the critics say Most critics welcome this adaptation as a grounded, intimate take on Austen, with praise clustering around the performances and the sisters’ relationship. Daisy Edgar-Jones and Esmé Creed-Miles earn repeated approval for their rapport, while Creed-Miles’s spirited Marianne is a particular favourite. The naturalistic period setting and earthy compositions also find support. For many reviewers, the emphasis on sisterhood gives the film enough character to stand apart from Ang Lee’s version. The spread is wide, however, and the same seriousness that some find moving leaves others missing Austen’s warmth and wit. Empire finds the visual approach derivative and the romance bloodless; The Hollywood Reporter considers the film overly morose. Even favourable reviews note uneven casting or flagging energy. There is disagreement about the satire, too: Deadline finds Austen’s social sharpness preserved, while several others hear considerably less humour. The consensus is positive, but the film’s emotional restraint remains divisive. ## Straight answers **Is Sense and Sensibility worth watching?** *Sense and Sensibility* is worth watching for its convincing sisterly affection and central performances, and we score it 73 out of 100. Daisy Edgar-Jones and Esmé Creed-Miles give this sober romance its warmth, though uneven courtships, cautious pacing and too little humour make it best suited to those as interested in family bonds as romantic attachments. **How long is Sense and Sensibility, and what is it rated?** *Sense and Sensibility* runs 2h 12m. It is a drama and romance film. **Where can I watch Sense and Sensibility in Slovakia?** *Sense and Sensibility* is not on any streaming or rental service in Slovakia at the moment. It is available in 4 other countries; change your country at the top of the page to see where. Availability is checked daily. **How does Sense and Sensibility compare to Little Women?** *Sense and Sensibility* is a quieter, more solemn sister-centred romance than [*Little Women*](https://film.one/film/little-women), which we recommend more strongly for its warmth, pace and attention to money. Both make family affection central to the pursuit of love, but the Dashwood sisters’ tenderness is the chief attraction here; Gerwig’s overlapping conversations and two timelines make the March sisters’ lives feel livelier. **Is Sense and Sensibility based on a true story or a book?** *Sense and Sensibility* is adapted from Jane Austen’s novel, with a screenplay by Diana Reid, rather than presented as a true story. We find this version most persuasive in its treatment of the Dashwood sisters’ affection, though it leaves too little room for social comedy; familiarity with the book is not necessary to appreciate their contrasting temperaments. **What should I watch after Sense and Sensibility?** After *Sense and Sensibility*, try [*Little Women*](https://film.one/film/little-women) (2019, Fi1m 83): Sisters pursue love and independence without ever quite escaping one another. Then [*Bright Star*](https://film.one/film/bright-star) (2009, Fi1m 82): A period romance whose physical closeness makes its restraint unusually affecting; and [*The Heiress*](https://film.one/film/the-heiress) (1949, Fi1m 90): Courtship and inheritance become frighteningly difficult to separate in a wealthy household. ### Reviews we read (20) - **Evening Standard**, Hannah Pettit (5/5): Pettit finds this moody, modern adaptation appealing to younger viewers while retaining Austen’s spirit for open-minded fans. She especially praises the stellar cast and the film’s lush, romantic frames. [Read](https://www.standard.co.uk/culture/film/sense-and-sensibility-review-daisy-edgar-jones-b1298306.html) - **IndieWire**, Ryan Lattanzio (B+): Lattanzio finds the faithful adaptation often swoony and fresh, while noting it may not match Ang Lee’s version. He praises Esmé Creed-Miles’s vivid performance as Marianne and the film’s grounded period visuals. [Read](https://www.indiewire.com/criticism/movies/sense-and-sensibility-2026-movie-review-1235221438/) - **Little White Lies**, Anna Stafford (3/4/4): Stafford finds Oakley’s adaptation a rugged, refreshing success that stands on its own rather than competing with Ang Lee’s version. She especially praises its earthy visual texture and the tender sisterhood at its center. [Read](https://www.lwlies.com/reviews/sense-and-sensibility) - **Time Out**, Olly Richards (4/5): Richards presents Oakley’s adaptation as a wild and wonderful take on Austen, distinct from the Ang Lee comparisons. The headline singles out its bold, distinctive approach, while the available text offers no further detail on what works best. [Read](https://www.timeout.com/movies/sense-and-sensibility-review-2026) - **Los Angeles Times**, Glenn Whipp (78/100, inferred): Whipp finds this adaptation charming and able to stand apart from its celebrated predecessor. He especially praises the fresh, convincing rapport between Daisy Edgar-Jones and Esmé Creed-Miles as the Dashwood sisters. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-10-16/sense-sensibility-review-daisy-edgar-jones-esme-creed-miles-george-mackay-georgia-oakley) - **Slant Magazine**, Derek Smith (3/4): Smith finds this naturalistic adaptation a fresh, intimate take, though it is less cheeky than other versions. He praises the sincerity with which the film presents Elinor and Marianne’s parallel journeys. [Read](https://www.slantmagazine.com/film/sense-and-sensibility-review-daisy-edgar-jones-jane-austen/) - **Screen Daily**, Nikki Baughan (70/100, inferred): The review presents the adaptation as an intimate, unfussy success. It singles out Daisy Edgar-Jones and Esme Creed-Miles for impressing in their roles. [Read](https://www.screendaily.com/reviews/sense-and-sensibility-review-daisy-edgar-jones-and-esme-creed-miles-impress-in-intimate-unfussy-jane-austen-adaptation/5220760.article) - **Variety**, Beatrice Loayza (70/100, inferred): Loayza finds Oakley’s adaptation a solid, moody and naturalistic take, though its serious tone makes it feel safer and less witty than Austen’s work. She especially praises Frank Dillane’s sly, humorous performance as Willoughby. [Read](https://variety.com/2026/film/reviews/sense-and-sensibility-review-1236871039/) - **The Guardian**, Peter Bradshaw (65/100, inferred): Bradshaw finds this adaptation sober-minded and interestingly austere, though some of its sensibility is lacking. He praises Fiona Shaw’s scene-stealing Mrs Jennings while criticizing Herbert Nordrum’s uncomfortable, unengaged Colonel Brandon. [Read](https://www.theguardian.com/film/2026/sep/21/sense-and-sensibility-review-romcom-austen-daisy-edgar-jones) - **The AV Club**, Monica Castillo (C+): Castillo finds the adaptation dutiful but emotionally restrained, unable to make its romances fully compelling. She praises Esmé Creed-Miles’s spirited performance and Oakley’s painterly compositions, while noting distracting stylistic choices. [Read](https://www.avclub.com/sense-and-sensibility-review-2026-jane-austen-georgia-oakley-george-mackay-daisy-edgar-jones-esme-creed-miles) - **Radio Times**, Alex Berry (60/100, inferred): The review finds the adaptation agreeable, with plenty to like, but not among the strongest Austen adaptations. It says the film lacks melancholy and warmth. [Read](https://www.radiotimes.com/movies/sense-and-sensibility-review/) - **Empire**, Laura Venning (30/100, inferred): Venning finds the adaptation handsome but derivative, with Austen’s wit and the story’s emotional heart diminished. She praises the warm, tender rapport between Daisy Edgar-Jones and George MacKay, while criticizing the film’s borrowed visual influences and bloodless romance. [Read](https://www.empireonline.com/movies/reviews/sense-and-sensibility-2026/) - **The Hollywood Reporter**, David Rooney (30/100, inferred): Rooney finds the adaptation overly morose and inferior to the 1995 version. He praises George MacKay and Daisy Edgar-Jones’s gentle rapport, especially in their climactic scenes. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/sense-and-sensibility-review-daisy-edgar-jones-jane-austen-1236706666/) - **Collider**, Therese Lacson (9/10): Lacson calls the adaptation an instant classic that rivals Joe Wright’s Pride and Prejudice. She particularly praises Esmé Creed-Miles’s passionate performance as Marianne and the film’s vivid, emotionally attuned portrayal of the sisters’ bond. [Read](https://collider.com/sense-and-sensibility-2026-georgia-oakley-review/) - **The Wrap** (90/100, inferred): The critic finds the adaptation enchanting, beautiful and intensely riveting. They especially praise its grounded melancholy and the emotionally compelling performances of Daisy Edgar-Jones and Esmé Creed-Miles. [Read](https://www.thewrap.com/creative-content/movies/sense-and-sensibility-2026-review-daisy-edgar-jones/) - **The Playlist**, Marshall Shaffer (B+): The critic finds the adaptation refreshingly grounded and emotionally authentic, giving Austen’s story new life. They especially praise its focus on the sisters’ bond and the young, age-appropriate Elinor. [Read](https://theplaylist.net/sense-and-sensibility-review-daisy-edgar-jones-esme-creed-miles-georgia-oakley-20261015/) - **Deadline**, Damon Wise (75/100, inferred): Wise finds Oakley’s adaptation timely and effective, preserving Austen’s sharp social satire while foregrounding women’s desire. He praises its subtle, lived-in realism, though he notes uneven casting and limited reinvention. [Read](https://deadline.com/2026/09/sense-and-sensibility-review-georgia-oakley-daisy-edgar-jones-1237110038/) - **Digital Spy**, Jess Bacon (72/100, inferred): Bacon finds the adaptation a successful, timely update, though it sometimes lacks energy and chemistry between the sisters. She praises Daisy Edgar-Jones’s performance and Fiona Shaw’s lively standout turn, while criticizing the film’s grey-washed look. [Read](https://www.digitalspy.com/movies/a73818217/sense-and-sensibility-review-2026/) - **Den of Geek**, David Crow (3.5/5): The critic finds this a charming, bittersweet adaptation that brings fresh life to Austen for new audiences, though it may not become definitive. He particularly praises Esmé Creed-Miles’s fiery Marianne and the sisters’ moving bond. [Read](https://www.denofgeek.com/movies/sense-and-sensibility-review-jane-austen/) - **HeyUGuys** (40/100, inferred): The critic finds the adaptation ambitious but frustrating, saying it never recaptures the warmth of the 1995 film. Daisy Edgar-Jones and George MacKay’s performances are praised, while the dance sequences are singled out as stilted and self-conscious. [Read](https://www.heyuguys.com/sense-and-sensibility-2026-review/) ## Details - **Director:** Georgia Oakley - **Director:** Georgia Oakley - **Screenplay:** Diana Reid - **Novel:** Jane Austen - **Cinematography:** Arnaud Potier - **Editor:** Izabella Curry - **Music:** Roger Goula Sarda - **Production design:** Francesca Di Mottola - **Costume design:** Grace Snell - **Producer:** Tim Bevan, Eric Fellner, India Flint - **Cast:** Daisy Edgar-Jones as Elinor Dashwood; Esmé Creed-Miles as Marianne Dashwood; Bodhi Rae Breathnach as Margaret Dashwood; Caitríona Balfe as Mrs. Dashwood; Fiona Shaw as Mrs. Jennings; George MacKay as Edward Ferrars; Herbert Nordrum as Colonel Brandon; Frank Dillane as John Willoughby - **Runtime:** 2h 12m - **First release (the UK):** 15 September 2026 - **Genres:** Drama, Romance - **Budget:** $25 million - **Box office:** $11 million - **Trailer:** https://www.youtube.com/watch?v=OFLyW0lxFU0 ## Where to watch in Slovakia Not streaming, renting or buying in Slovakia at the last check. Also available in: AU, GB, IE, NZ. Add `?region=XX` to this URL for another country. ## If you liked this - *Little Women* (2019), Fi1m 83: Sisters pursue love and independence without ever quite escaping one another. — [Fi1m page](https://film.one/film/little-women.md) - *Bright Star* (2009), Fi1m 82: A period romance whose physical closeness makes its restraint unusually affecting. — [Fi1m page](https://film.one/film/bright-star.md) - *Our Little Sister* (2015): Four sisters build a household, with family feeling expressed through everyday routines. - *The Heiress* (1949), Fi1m 90: Courtship and inheritance become frighteningly difficult to separate in a wealthy household. — [Fi1m page](https://film.one/film/the-heiress.md) - *I Capture the Castle* (2003): Sisters weigh romance against money, with more humour than their circumstances deserve. --- © 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/sense-and-sensibility-2026