A new adaptation of Jane Austen’s “Sense and Sensibility” offers a fresh take on the classic story of the Dashwood sisters, emphasizing a raw and windswept atmosphere that distinguishes it from previous versions. Directed by Georgia Oakley and scripted by Diana Reid, the film presents Elinor and Marianne Dashwood as distinctly portrayed sisters whose warm yet complex relationship forms the emotional core of the narrative.

Set in Regency England, the story follows Mrs. Dashwood (Caitríona Balfe) and her three daughters, Elinor (Daisy Edgar-Jones), Marianne (Esmé Creed-Miles), and young Margaret (Bodhi Rae Breathnach), as they face financial hardship after Mr. Dashwood’s death. Their move from a grand Sussex estate to a modest cottage in Devon is prompted by inheritance passing to their half-brother and his wife, Fanny (Stacy Martin). This shift sets the stage for the sisters’ differing responses to love and insecurity, themes central to Austen’s novel.

The film takes a more naturalistic approach than some earlier adaptations, with Oakley favoring natural lighting and incorporating vivid imagery of the surrounding countryside. This lends the story a more autumnal, almost Brontë-inspired ambiance, characterized by muted colors and understated makeup that highlight the characters’ emotional landscapes rather than period spectacle.

In terms of romantic entanglements, Marianne falls for the charming but untrustworthy Willoughby (Frank Dillane), while Elinor patiently awaits a declaration from the reserved Edward (George MacKay). Meanwhile, Colonel Brandon (Herbert Nordrum), a steady but socially awkward admirer of Marianne, quietly awaits his moment. The nuanced performances help underscore the emotional complexity beneath the surface interactions.

Supporting roles add depth to the film, notably Fiona Shaw’s portrayal of Mrs. Jennings, a gossipy yet kind-hearted figure whose presence adds levity. The sisters’ chemistry, driven by Edgar-Jones and Creed-Miles, anchors the film, offering a dynamic that feels both contemporary and faithful to Austen’s exploration of familial bonds.

While comparisons to the acclaimed 1995 Ang Lee adaptation are inevitable, this new version distinguishes itself through its more serious and literal reading of the source material. Where the earlier film employed a looser script inspired by Austen’s style, Oakley’s version is rooted more directly in the novel’s text and tone.

This adaptation may not replace the 1995 film in the hearts of all Austen enthusiasts, but its compelling performances and atmospheric direction provide an engaging reexamination of the Dashwood sisters’ story for a new generation.