We all have our favorite Janes and our favorite Rochesters, and for what it’s worth, Ruth Wilson and Toby Stephens are a pretty good match for both — assuming you prefer the “dreamy misunderstood bad-boy” version of Rochester, versus “old monster with a few redeeming qualities” version. I loved the book and am fairly agnostic about which interpretation is better. My only real gripe about pretty much every Jane Eyre adaptation is that no one gets how sassy Jane is in the book. They all water her down considerably, probably because almost all of that sass is internal dialogue and that’s hard to convey on film … But I digress. (Sarah Lorraine)
Mansfield Park is Austen’s bildungsroman (the novel of becoming) on a par with that other girls’ classic, Charlotte Brontë’s Jane Eyre (1847). Like poor, plain Jane, Fanny Price is a girl of no consequence – a Cinderella figure in a mansion of the rich and selfish. (Lucy Thompson)
The images arrive like fragments of a film, each black-and-white still composed with stark precision yet alive with movement. Bahia and Legrand, faces framed by hoods and gowns shaped by shadow and wind, appear not simply as models but as characters — women out of time, half Austen heroine, half Brontë specter. Their silhouettes are pure and sculptural, yet the surrounding landscape of Cap Blanc-Nez and Cap Gris-Nez pulls them into a raw, elemental world. It is an Alaïa vision filtered through the atmospheres of Jane Campion or Stanley Kubrick: dramatic, haunted, yet profoundly modern.
This season's fashion campaigns are feeling cinematic, perhaps none more so than Pieter Mulier's latest effort for Alaïa, with a video version that references a sweep of his favorite movies: Jane Campion's The Piano, Breaking the Waves by Lars von Trier, William Wyler's Wuthering Heights, and Barry Lyndon by Stanley Kubrick. (Miles Socha)
“Merle, despite that, she soldiered on, and she gave a performance for the ages. But Wuthering Heights, when it came out in 1939, was not really a financial success. It would take a few re-releases for it to really turn a profit. And so Goldwyn’s final attempt to solidify her stardom proved to be a financial miscalculation,” he says. (Amy Ta)
Wuthering Heights 2026After her explosive sophomore film Saltburn, fans and critics of Emerald Fennell alike have been eager to see what her next movie will be. The filmmaker, who won the Oscar for Best Screenplay of the brilliantly subversive Promising Young Woman, will be tackling the classic novel Wuthering Heights by Emily Brontë. Though the internet was up in arms over Fennell casting Margot Robbie and Jacob Elordi as the film’s iconic leads Catherine and Heathcliff, we know at least Fennell will bring a fresh perspective to the piece, lest it stray from the source material. (Victoria Male)
[Lady Emma] Equipped with a twin-headlights stare and a murderous and unscrupulous personality, she’s like the mad woman in Jane Eyre crossed with the titular character in Carrie. She looks as though she belongs in another show entirely, but they could have used a few more like her. (Adam Sweeting)
Fine Books & Collections reports the acquisition of three properties in Haworth by the Brontë Society. The Body Optimist (in French) discusses the (in)famous reception at the Dallas pre-screening of Wuthering Heights 2026.
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