One of 2026’s most talked-about movies is finally available to watch now

Here’s JOE’s thoughts on the controversial and divisive new blockbuster.

Writer-director Emerald Fennell’s follow-up to Saltburn, the film is the latest adaptation of Emily Brontë’s 1847 novel. 

Set in the 18th century on the West Yorkshire moors, it chronicles the turbulent romantic relationship between Catherine Earnshaw (Margot Robbie, Babylon), who lives in the titular estate, and Heathcliffe (Jacob Elordi, The Narrow Road to the Deep North), a foundling discovered on the streets of Liverpool who was taken in and raised by the Earnshaw family.

To my shame, I’ve not yet read the Brontë novel, with my only prior exposure to this story being the Kate Bush song, as well as the book’s more gritty and naturalistic movie adaptation from 2011, directed by Andrea Arnold and starring Kaya Scodelario. 

Normally, JOE wouldn’t confess this in a review of an adaptation. But Wuthering Heights is such a totemic and foundational novel, one where any significant departure from the source material is sure to cause uproar - as has been the case with the early reaction to Emerald Fennell’s latest. After all, when you have such a complex story about rich themes like the line between passion and obsession, class and race, big changes are sure to be picked over and analysed for their intent.

In a move that is likely to upset purists, Fennell has made a film for a modern, maybe younger audience, who perhaps have never engaged with Wuthering Heights at all. Yes, the bare bones of the story have been retained, with its gothic manor and moor settings gorgeously recreated. Yet, Fennell packs her version of the tale full of deliberately risqué sequences and steamy, suggestive imagery (à la Saltburn), the type of which Brontë could have never put in her book, even had she so desired. On top of this, she streamlines the narrative, merging characters together and cutting entire plotlines.

Yet, just taking this new “Wuthering Heights” on its own merits, it is compelling, even as it occasionally feels like it's trying too hard to be provocative. Perhaps by stripping away those aforementioned subplots, Fennell zeroes in on something universal in the tale, an age-old question that has powered romantic dramas from Shakespeare’s Romeo and Juliet (which is name checked in the movie) to West Side Story to last year’s Materialists: What if you fall in love with someone from a different social class or a different side of the tracks? Would you rather forego that love to live a comfortable life or struggle together?

There’s a real tragedy to “Wuthering Heights”. Having been best friends since they were children, Catherine and Heathcliff only start to realise their romantic feelings for each other at the worst possible time. This is after the revelation that Catherine’s father, Mr Earnshaw (Martin Clunes, brilliantly alternating between charming and sinister), has drank and gambled away all their money. As such, Catherine is forced to marry her wealthy textile merchant neighbour Edgar Linton (Shazad Latif, doing yeoman’s work in the “baxter” role) to secure her financial future.

Due to a mix of youthful naivety, that British stiff upper lip and one very unfortunate miscommunication blunder, Catherine and Heathcliff never properly discuss her engagement to Edgar. Feeling scorned, Heathcliff disappears, setting the stage for his return some time later, whereby he and Catherine become embroiled in a toxic relationship that is alternately driven by love and one-upmanship/revenge, which pollutes everyone around them, including Edgar’s ward Isabella (Irish actress and MVP Alison Oliver, navigating a tricky role with bravery and aplomb). Yet, if it weren’t for the rigid social hierarchies they propagate, there’d be no need for such ugliness. They could have all been happy.

Complimenting this high drama is colourful and vibrant cinematography by Linus Sandgren (Babylon), ornate and opulent production design by Suzie Davies (Conclave) and a fantastic soundtrack by Charli XCX that continually finds inventive ways of making modern electro music feel classic and gothic.

In our view, Emerald Fennell’s “Wuthering Heights” is a modern remix of a classic, full of flair and feeling. Plus, if it inspires some of its audience to pick up the Brontë novel, that’s even better.

“Wuthering Heights” is in cinemas now.