'I was bowled over by the fact that a small, plain, poor girl could be an amazing heroine'

Latrobe Valley Express features a Theatre Studies student who did a monologue based on Jane Eyre.

The day after moving to Ballarat to begin an acting degree, Kurnai College graduate Chantal Patton wowed audiences at the Beyond the Classroom exhibition opening night with her year 12 theatre studies piece, a monologue adapted from the novel Jane Eyre.
The annual exhibition showcases the 2017 VCE works of local students.
"My monologue is from Jane Eyre, but it is a play version created in London," Ms Patton said.
"[The theatre company] didn't have a script to begin with, so it cast the company ... and they picked the parts of the novel they liked and thought were really important and turned that into the script.
"There are three parts to the monologue and it is pretty high tension and [has] high emotion.
"There is a lot of inner conflict which has been really interesting for me to portray and do the research behind it, to get into the whole character." (Heidi Kraak)

Gulf News features author Jacqueline Wilson.

A book that changed me… was Jane Eyre by Charlotte Bronte. I first read it when I was 10 or 11 and I was bowled over by the fact that a small, plain, poor girl could be an amazing heroine. (Suparna Dutt-D’Cunha)

The Bookseller tells about the new work by Caryl Phillips, author of the Wuthering Heights-inspired novel The Lost Child.

Vintage has acquired a "beautiful, heart-breaking" novel about the life of Jean Rhys by Booker-shortlisted novelist Caryl Phillips. [...]
Publishing on 21st June, A View of the Empire at Sunset begins as Rhys – not yet famous as the author of Wide Sargasso Sea – is presented with an unexpected opportunity to return to the island of her childhood. Rhys lived in the Caribbean for 16 years before going to England. But in the novel, while far from "the lonely nights and failed dreams of England", a visit home to Dominica compels her to reflect on the events of her past and on what they may mean for her future.
In this way, the book will explore Rhys' "tempestuous" life: her schooldays in Edwardian England, her training as an actress, her life in Paris in the 1920s, and her return to London. According to Vintage, readers will see Rhys "battling to find her place in the world and bracing herself for the end of her marriage", branding it a novel "of the complexities of family, the nature of alienation and exile, and ultimately a story of courage and hope". (Katherine Cowdrey)

Il Libraio (Italy) interviews writers Laura Martinetti and Manuela Perugini.

Da lettrici, quali sono le vostre passioni? Laura: “Quando avevo undici anni mia madre mi diede un’edizione della sua infanzia di Jane Eyre. Ne rimasi ammaliata. Da quel momento non ho più abbandonato la lettura. (Translation)

News Whistle has a Q&A with English Professor Devoney Looser, author of the book The Making of Jane Austen.

So many people claim Jane Austen and interpret Jane Austen, and as you point out in your book, this isn’t anything new.  I discovered the novels on my own as a teenager, thanks to one of my aunts who gave my sister a collection of all the books in one volume (I stole it from her), and just uncritically enjoyed the stories and the fine writing.  When I was an English major in college, I studied Jane Austen as an satirist, reading Pride and Prejudice alongside the novels of Evelyn Waugh and Gibbon’s Decline and Fall of the Roman Empire (the Penguin abridged version).  I still love the stories and the intelligent writing and I appreciate the wit and all of the subtle irony.  (And I find myself a little annoyed when people “Brontë-fy” Austen…I appreciate the Brontë sisters, too, but they had a very different sensibility.)  So, what (or who) is your Jane Austen?  What camp do you fall into?  What adaptions or interpretations speak to you? My Austen is definitely the satirical, feminist social critic Austen. I know that not everyone reads her that way. In order to read her that way, you have to say that the most important thing is *not* their ending in fairy tale marriages. You have to say that there is a lot more going on than that. A happy-marriage ending is what a comedy does. It’s not the be-all, end-all of her fiction, which also explores dissatisfying marriages, economic struggles, family conflict, dependence and independence, and how to live a meaningful life in a world that is often deeply unfair. But the novels do it with laughs, everything from light humor to dark satire, and without hitting you over the head with a one-size-fits all moral lesson. That’s my Austen.
I think some adaptations showcase that Austen better than others. My favorite adaptations are Ang Lee’s Sense and Sensibility (1995), the BBC Pride and Prejudice (1995), and Clueless (1996). You might notice that all of those came out when I was a lot younger. I don’t think it’s an accident that adaptations of Austen that we see at a particular age or stage in our lives imprint themselves on us differently. Like you, I can’t embrace the Joe Wright Pride and Prejudice (2005), because it’s just too Brontë-ized. I’m worried about this new one that’s being done by the Poldark team for the same reason. I hope they don’t out-Wright Wright. (Laura LaVelle)

Independent reviews the film Dark River:

[Director Clio] Barnard’s narrative style is elliptical and mysterious. The sun rarely shines. Nonetheless, the film has an impressive intensity. Although it is set in the present day, it evokes memories of some of the bleaker Thomas Hardy adaptations or even of Wuthering Heights. (Geoffrey Macnab)

While Manga Forever (Italy) reviews the film Phantom Thread.

Il Filo Nascosto rappresenta una perfetta chiusa della poetica del suo cinema nel XXI secolo: se il cineasta losangelino ci aveva raccontato della ricerca dell’amore e della pace interiore nella vita di coppia in Ubriaco d’Amore, se ci aveva spiegato la ricerca del potere e la bramosia capitalista ne Il Petroliere, se ci aveva delineato gli effetti dell’amore negato sull’anima umana (e soprattutto sulla psiche) in The Master, Il Filo Nascosto lega con precisione sartoriale (il gioco di parole era d’obbligo) tutti gli argomenti dei film precedenti, ma allo stesso tempo se ne distacca notevolmente assumendo toni da romanzo gotico (c’è un po’ di Jane Eyre), da thriller hitchcockiano (c’è anche un po’ di Rebecca – La prima moglie), da mèlo intrigante, seducente, sinuoso e insinuante. (Matteo Regoli) (Translation)

Finally, on YouTube, Brontë Society Young Ambassador Lucy Powrie talks about what Emily means to her and about this year's exhibition at the Brontë Parsonage Museum, Making Thunder Roar.