Wild Landscapes

 And still more reviews of Emily. In Le Devoir (Canada):

Même rigoureuses, les biographies possèdent toujours une part de subjectivité, d’interprétation, voire, dans certains cas, de fiction. Le film Emily, qui revient sur la trop courte existenced’Emily Brontë, souscrit à cette dernière approche. Non que l’on ait envie de catégoriser ce premier long métrage de Frances O’Connor, tant celui-ci s’avère inspiré. (...)   Il en résulte, dans Emily, une impression d’intimisme épique. À bien y penser, ce ne saurait être plus en phase avec l’oeuvre de l’autrice, que Frances O’Connor montre trouvant un exutoire dans la création, dans la fiction. Dès lors, le fait que la cinéaste eût elle-même recouru à une part de fiction pour tenter de mieux cerner l’insaisissable autrice pourrait être perçu comme un ultime hommage. (François Lévesque) (Translation)

We Are Movie Geeks:

Emily is visually beautiful, and puts Emily Brontë in the setting for her own novel. Shot on location in Yorkshire, there are many walks across windswept hills, often in the company of her doomed, wild brother Branwell. In this gorgeous, wild landscape, she frees her mind and embraces life without care for social restrictions on women or artists.

Despite its departure from facts or what might be likely in her Victorian world, there is entertainment in Emily, a well-acted, thrilling fantasy of Emily Brontë with the constrains of her life loosened, with the boldness of her novel “Wuthering Heights” transferred to the author’s life. (Cate Marquis)

Third Coast Review:

 O’Connor has an honest sense of how a young woman of the period might have channeled her suffering onto the page into something like a purge. History tells us that Emily Brontë died at 30, only about a year after the book was published (and not even under her own name initially), so she wasn’t able to enjoy her success the way her sisters did. As much as Emily is a tragedy in many respects, O’Connor makes it clear that Emily’s final act of creation was on her own terms, with no compromise—something of a rarity in the mid-1800s. Despite its deliberate pacing, the film is a vibrant, passionate, and ultimately moving bit of biographical fiction. (Steve Prokopy)

Courier Tribune:

 For a movie so lovingly a tribute to words, much is shown without dialog, but instead in gifted faces and earthly sounds. The soundtrack relies just as much on crashing waves and thunder under lovemaking, the scratching of her quill and stifled sniffles and sudden thunderstorms that accentuate Emily’s moody extremes and eventually kill her as on the typical but sporadic and understated classical melodies so often associated with repressed period pieces. Emma Mackey’s Oscar performance is less repressed. (Simonie Wilson)

La Presse (Canada):

 Des deux heures et quelques du film, à aucun moment on n’aura eu l’impression que l’histoire s’étire en longueur. Bien au contraire. On serait resté encore plus longtemps à contempler les paysages poétiques du Yorkshire qui s’étalent à perte de vue, et à travers lesquels nous entraîne à sa suite une jeune femme qui a osé défier ce qui était attendu d’elle pour vivre sa courte vie comme elle l’entendait. (Laila Maalouf) (Translation)

The Tangential:

If the film as a whole disappoints, there are moments when Emily comes alive and reveals glimmers of what O’Connor is capable of. In one unforgettable scene, Jackson-Cohen paces toward a waiting Mackey across one of those windswept heaths. We see Weightman from Emily’s point of view, framed through a vertical window. She looks toward him, then away, then back, and away again, and back yet again — the young man, his eyes cast down, appearing closer each time and creating a sort of strobing effect that evokes Emily’s racing pulse as time flashes forward. (Jay Gabler)

The Yorkshire Evening Post reminds us that 

Emily is a semi-fictional film portraying the life of English writer Emily Brontë (played by Emma Mackey). The filming took place across West Yorkshire, including in Otley and the village of Haworth. (Abi Whistance)

and Deadline mentions that: 

Expansion: Emily, from Bleecker Street, moves to 500 screens in week two. The period drama about Emily Brontë is directed by Frances O’Connor and stars Emma Mackey, who just won the BAFTA Rising Star Award. (Jill Goldsmith)

The film is also mentioned in Geek Generation (France),  The Daily Record, The Seattle Times, Pasatiempo (Chile), Metro World News, Cinemáticos (in Spanish), Colorado Springs Gazette, North West Indiana, Syrie James...

Keighley News talks about Sir James Roberts who:

In May, 1927, Sir James Roberts of Fairlight Hall, near Hastings, East Sussex, announced at the annual Brontë Society meeting that he proposed to buy the parsonage in Haworth and donate it to them for a permanent museum and library.

The purchase was completed, and the parsonage was gifted to the society and formally opened to the public by Sir James on Saturday, August 4, 1928.

James Roberts was a man of very humble origins. He was born in a cottage at Lane Ends in Oakworth in 1848 and was the son of a weaver. He was the seventh child of James Roberts and his wife, Jane Hartley, who had moved to Oakworth from Thornton-in-Craven shortly after the birth of a daughter in 1845. When he was about four years old the family moved to Haworth where he received a basic education at the schoolhouse next to the parsonage and recalled in later life seeing Charlotte Brontë and her father, Patrick. As his family were baptists, they were unlikely to have met the Brontës through the church, although in later life he claimed to have heard Patrick Brontë preach. (Alistair Shand)

The Conversation explores linguistic diversity in English-language fiction:

In English-language fiction, a non-English tongue can provide a liberating alternative to conventional norms of behaviour. In Charlotte Brontë’s 1849 novel Shirley, French serves the dual English protagonists, Shirley and Caroline, as a means of resisting the claustrophobic grip of their patriarchal milieu. (Michael Ross)

/Film interviews the screenwriter Jeff Loveless (Quantumania) who says:

 I just love classical super villains. I love Chris Claremont's Magneto, or I love Heathcliff from "Wuthering Heights." (Ethan Anderton)

The Hindustan Times interviews Miranda Seymour on her recent biography of Jean Rhys, I Used To Live Here Once:

Bertha Mason, the madwoman in the attic from Charlotte Brontë’s 1847 novel Jane Eyre, despite being the first wife of Edward Rochestor, remained dehumanized and faceless until Jean Rhys decided to bring her to literary life in 1966 through her hugely popular work, Wide Sargasso Sea.

Rhys recreated Bertha’s (Antoinette Cosway in Wide Sargasso Sea) childhood and youth as a Creolean heiress, her first meeting with a young Rochester and marriage to him, and her eventual breakdown, all vividly rest alongside vignettes of postcolonial racial and sexual exploitation. (Arunima Mazundar)

Train journeys in the UK in Suitcase. Describing the Settle-Carlisle railway:

The accomplishments of Victorian engineering - enabling the train to squeeze through majestic hill cuts and fly across mind-dizzyingly high bridges - are almost as impressive as the Brontë-esque natural landscapes outside the window. (Lucy Kehoe)

FinnoExpert talks about Hebden Bridge:

 Twenty minutes away, you can visit Haworth, where the Brontë sisters lived. It’s easy to see how the wild scenery surrounding the village inspired Wuthering Heights. One local tells me that what drew him back to the area after a few years in London was the ever-changing landscape. ‘One moment it’s overwhelming, the next it’s so light and uplifting.’ (SamarthPophale)

Mor.bo (Spain) talks about the latest album by Caroline Polachek, Desire, I Want To Turn Into You:

Olvídense de un universo como el de Pang, que aunque intrigante, como en la caja de un puzzle aparecía ya perfectamente formado: una estética surrealista a medio camino entre Emily Brontë, las cartas Magic the Gathering y realidad virtual. (Juan Carlos Sahli) (Translation) 

De Morgen (Belgium) interviews the owner of the bookstore Beatrijs in Oudenaarde, Belgium:

 Marnix Verplancke: Naar welk boek kijkt u uit?

Karin Bergote: “Ik ben begonnen in Anjet Daanjes Het lied van ooievaar en dromedaris, gebaseerd op het leven van Emily Brontë, die je ziet door de ogen van een aantal mensen die door haar geïntrigeerd waren geraakt.

Dagens Nyheter (Sweden) interviews the writer Kerstin Ekman, revealing an upcoming project:

 I den kommande boken skriver hon om Emily Brontë, om den livslånga följeslagaren Thomas Mann, om Eyvind Johnson och Philip Roth. (Translation)