Australian Premiere, Bracelets and Creepy Emily Obsessed Film Directors

The Sydney premiere is on plenty of Australian news outlets. For instance, West Australian Today:

Sydneysiders in the know had two reasons to flock to George Street on Thur
sday: to be among the first in the country to shop Hailey Bieber’s billion-dollar beauty brand, Rhode, at Mecca, or lock eyes with Margot Robbie and Jacob Elordi on the blue carpet as they unleashed “Wuthering Heights” upon Australian cinemagoers. (Bronte Gossling)

The Sydney Morning Herald vindicates the Australianness of Margot Robbie and Jacob Elordi. 

To me, a fellow Queenslander, this is funny. The protagonists of one of the most iconic English novels of all time are depicted by two Queenslanders, who are less used to the wet and wild moors of Yorkshire, and more used to the Wet ‘n’ Wild theme park on the Gold Coast. (Rebecca Shaw)

More pictures and stuff in ABC News, Red Carpet Fashion Awards (Margot Robbie Wore Ashi Studio Couture apparently), Daily Telegraph, Refinery29...

One of the highlights of the London premiere was the Brontë replica bracelet. Business Up North asks its creators,  Wyedean Crafts:

Wyedean Weaving, a Haworth-based specialist in braiding and ceremonial manufacturing, was commissioned to produce a replica of the 175-year-old mourning bracelet once owned and worn by Charlotte Brontë. The original piece, housed at the Brontë Parsonage Museum, is crafted from hand-woven hair believed to belong to her sisters Emily and Anne, and features garnets set in gold – a style typical of 19th-century mourning jewellery. (...)

Rebecca Yorke, Director of the Brontë Parsonage Museum, said the Parsonage immediately recommended Wyedean for its experience, tools and technical expertise. She added: “When Andrew asked for suggestions of who might be able to recreate a faithful and high-quality replica of Charlotte’s garnet bracelet, I immediately recommended the Wyedean team. It was particularly fitting that they’re based in a building that would have been known to the Brontës. We are now working with Robin and his team to create a limited edition of the piece to sell via our museum shop.”

Robin added: “This has been an extraordinary collaboration between heritage manufacturers, jewellers and museum specialists and has resulted in a faithful replica worthy of the Brontë legacy. We are thrilled to be part of celebrating British craftsmanship, ingenuity and historical respect across the generations. This goes down in our history of one of our greatest manufacturing achievements.” (Oriana Storey)

 I+D interviews Shazad Latif, Edgar in Wuthering Heights 2026:

Douglas Greenwood: You have a personal connection to Wuthering Heights, right?

Shazad Latif: I do. The 1939 version was one of the VHS tapes my nan had in a wooden cabinet when I was growing up. She was an old movie buff, so we’d rewatch it. I’d known about Cathy and Heathcliff since I was a kid. 

The Carolinian repeats the usual controversy suspects,  Los Angeles Times sits with Emerald Fennell, Margot Robbie and Jacob Elordi, the latest want confesses to Fotogramas (Spain) that the film is the most Basque one he has made, Wio News and The Tribune Express looks into the published reviews, Honey takes a look to the whole press tour, Baz Luhrmann interviews the film director in Interview:

LUHRMANN: Virginia Woolf is a really good one, because it’s a co-dependency where they’re tearing each other apart, but they can’t live without each other. You say that “They’re souls—” I can’t give away dialogue, I suppose.

FENNELL: Well, you can, because it’s all Brontë. The thing that’s really really fun about this is that although I’ve taken some small liberties for dramaturgical reasons, I’ve been really faithful to Brontë’s dialogue. Even the scenes later in the movie that are a little more transgressive, almost all of that dialogue is Brontë.

LUHRMANN: Yeah. I hope this doesn’t sound self-serving, but when I did Romeo + Juliet, and Craig [Pearce] and I were working on the text, every word was written by Shakespeare. We just cut and movedsome of it around. In Wuthering Heights, you don’t think about Brontë, you just think they speak like us—that they are us, you know?

FENNELL: Yeah. The thing about an adaptation is you need to coexist with it and let it be the beautiful thing that it is. Nobody loves Emily Brontë more than I do. I’m a creepy obsessive. But I also know you can’t do a fully faithful adaptation of this, because it would be too long and simply wouldn’t work as a movie.

(...)

FENNELL: And translate it. There’s this brilliant piece of literary criticism from 50 years ago that says Nelly Dean is the real villain of Wuthering Heights, which is interesting. That thing of female relationships, that thing of loving someone and hating them, extends to every single person in this, right?

LUHRMANN: I totally agree.

FENNELL: Something’s only truly narratively engaging if you like and dislike characters in equal measure. The problem, and the joy, of Wuthering Heights is that Cathy and Heathcliff are the two least likable characters ever written.

The Ringer thinks that the film could be the hate-watch event of the year. The Wayward Curator thinks that Isabella Linton in this film finally gets agency and is liberated. Tyla discusses Cathy's 'skin room' in the film. House Beautiful explores the film 'easter eggs': sweating rooms, low ceilings, a dollhouse inside a house, a lamb inside a case, an allusion to a famous Fragonard painting...

Forbes, for some reason, thinks that revealing that JPMorgan Chase is one of the fund providers of the film is a big reveal. A Rabbit's Foot explores the 'anachronistic' corsets of the film. Espinof and Quién (Spain) go back to the novel to present the new film. The India Times thinks that Dhadkan (2000) went much further than Emerald Fennell:

Before Margot Robbie and Jacob Elordi step into the wild world of Wuthering Heights under Emerald Fennell, Bollywood quietly did something unexpected. It took Emily Brontë’s dark, obsessive classic and flipped it on its head.

Back in 2000, Dhadkan arrived with rain songs, dramatic stares, and one of the most iconic love triangles of its time. Officially called a loose adaptation of the novel, the film kept the skeleton of Brontë’s story but changed the soul of it completely. If the book whispered despair, Dhadkan sang hope at full volume. (Nillohit Bagchi)

Pure Wow has read the novel twice and happens to know what everybody gets wrong about it:

Thus, as the protagonist (or, with the amount of violence he commits, rather the anti-hero), Heathcliff has much to overcome. Dehumanizing treatment from his adopted family, the loss of his lover to a man more privileged and respected than he will ever be, constantly despised and doubted...in a quest for vengeance, Wuthering Heights transforms from a simple story of tortured lovers into a sweeping family saga that looks at the darkest corners of the human soul. Brontë addresses thorny topics like social class, race, feminism and religion in a way that literary scholar John Burton called "transgressive," breaking not just narrative norms, but moral ones as well. (Marissa Wu)

The Indiependent merely reviews the book:

 In the end, Wuthering Heights serves as a warning about the terrible results of concealing one’s true identity. While the first half of the book is a tempest of hatred, the second half offers a tenuous ray of hope through the children of the original protagonists. The final coupling of the younger Cathy and the rugged Hareton Earnshaw suggests that a balanced love that incorporates passion, education, and kindness can end the trauma cycle. (C. Sharmishtha)

Woman (El Periódico) interviews the writer Cristina Araújo Gámir:

Isabel Loscertales: ¿A qué te refieres?

C.A.G.: El tema del amor me apetecía muchísimo y más de esa manera tan intensa y profunda, tan Cumbres borrascosas, aunque sea un ejemplo arrogante. (Translation)

Manchester Evening News explores the 'charming' Peak District village that inspired a Brontë Sister. Unclickbaiting it: Heathersage and Charlotte Brontë.

The village of Hathersage features in Charlotte Brontë’s Jane Eyre and the writer is said to have visited the village often. In fact an Eyre family resided in the area, at the North Lees Hall, a mile away from the village, reputedly the inspiration for Thornfield Hall in the novel. (Liv Clarke)

El Plural (Spain) quotes Emily Brontë (with the wrong picture of Emily, though) in Chapter XI of Wuthering Heights: 

The tyrant grinds down his slaves and they don't turn against him; they crush those beneath them.
Una frase de Emily Brontë, publicada hace más de 170 años, vuelve a ser comentada en redes y medios culturales por su vigencia política y social: “El tirano oprime a sus esclavos y éstos no se vuelven contra él, sino que aplastan a los que tienen debajo”. La escritora británica, conocida sobre todo por Cumbres Borrascosas, describía con claridad un fenómeno que hoy se observa en distintas formas de jerarquía y abuso de poder, desde empresas y organizaciones hasta contextos sociales y políticos.
El comentario de Brontë es contundente: el abuso no se limita al enfrentamiento directo con quien detenta el poder, sino que genera una cadena de violencia descendente. Esta reflexión literaria conecta con debates contemporáneos sobre desigualdad, acoso laboral y dinámicas autoritarias, provocando que lectores y especialistas en redes sociales revisiten la obra de la autora bajo una perspectiva más política y crítica. (Translation)