A passionate and tumultuous love story set against the backdrop of the Yorkshire moors, exploring the intense and destructive relationship between Heathcliff (Jacob Elordi) and Catherine Earnshaw (Margot Robbie).

A Fever Dream on the Moors

Across the past decade, Fennell has proven herself a filmmaker unwilling to be restrained by convention, genre, or narrative safety. From the razor-edged provocation of Promising Young Woman to the decadent, venomous seduction of Saltburn, she has continually pushed audiences toward discomfort, intimacy, and revelation. With “Wuthering Heights”, she takes her greatest narrative risk yet, unleashing a deeply personal, wildly sensual interpretation of Emily Brontë’s gothic classic — a film of immense feeling and feral romantic intensity that completely redefines Valentine’s Day cinema.

Emerald Fennell’s Burning Projection

Early speculation suggested “Wuthering Heights” might employ a modern framing device; a contemporary character stepping into Brontë’s tale. In a sense, this is true. That character is Emerald Fennell herself.

This adaptation plays like a projected fever dream: the emotional, sensual, and psychological reality of Fennell reading Wuthering Heights, her thoughts and desires elevated into a heightened cinematic state. What unfolds feels less like a traditional adaptation and more like an intimate psychic experience — images intensified, emotions amplified, passions unrestrained. As an audience, we are plunged directly into Fennell’s subconscious, and the result is utterly bewitching.

This is a film that ignites every sense. You leave trembling with adrenaline, skin prickling, heart racing. It’s an experience that makes you shudder, gasp, and ache; a visceral reminder of cinema’s ability to overwhelm.

Maximalist Gothic Romance

There is nothing restrained about “Wuthering Heights”. Every creative choice is pushed to its most expressive extreme, transforming Brontë’s tragic romance into a grand gothic fantasia told at maximalist volume.

Fennell’s collaborators elevate this vision into something operatic. Cinematographer Linus Sandgren, production designer Suzie Davies, costume designer Jacqueline Durran, composer Anthony Willis, and pop provocateur Charli XCX combine forces to create a world that feels colossal yet deeply intimate, a living, breathing manifestation of desire.

The film’s visual palette evolves with its characters: from dark, brooding earth tones that reflect Cathy and Heathcliff’s feral youth at Wuthering Heights, to the baroque, fairy-tale decadence of Thrushcross Grange, where longing mutates into obsession. Sandgren’s imagery is crisp, vivid, and unapologetically cinematic – every frame drenched in atmosphere, never bland, always alive.

Intimacy as Character

Jacqueline Durran’s costume work is nothing short of rapturous. With over 60 costume changes, Margot Robbie’s Catherine Earnshaw is adorned in a wardrobe that charts her journey from impoverished yearning to bourgeois decadence, and ultimately to the visual expression of her own rebellious, carnal fantasies. Each garment is luxurious, symbolic, and narratively purposeful.

Jacob Elordi’s Heathcliff undergoes an equally striking transformation. From ragged stable boy to Byronic anti-hero, his wardrobe reflects power, menace, and sensual authority. In his tailored coats and waistcoats, Elordi cuts a devastating figure: dangerous, magnetic, and undeniably alluring. These costumes are not mere spectacle; they actively drive character, emotion, and narrative momentum.

Anthony Willis’s sweeping score, punctuated by Charli XCX’s modern pulse, completes the sensory assault. Together, sound and image create a symphony of longing, lust, and heartbreak, unified by Fennell’s uncompromising vision.

Eroticism Without Apology

Fennell fully unleashes the erotic undercurrents of “Wuthering Heights”. The sexual repression of the 1800s erupts into heat, sweat, and skin-on-skin yearning; a raw portrait of romantic passion finally allowed to breathe.

The film’s eroticism is fearless yet purposeful. Shocking at times, tender at others, these moments are never gratuitous. Instead, they feel deeply rooted in character and history, as though Brontë’s own suppressed passions have been liberated. This sensuality builds empathy rather than spectacle, pulling the audience into the emotional core of the story.

Love, Humour, and Emotional Ruin

At its heart, “Wuthering Heights” is an exploration of love in all its forms: blissful, destructive, innocent, and cruel. Fennell holds nothing back, allowing each emotion to crash over the audience in waves.

Surprisingly, humour finds its way into the film at unexpected moments, offering brief flashes of levity that sharpen rather than soften the tragedy. These moments of wit remind us of Fennell’s mischievous hand and prevent the film from collapsing under its own intensity.

Margot Robbie and Jacob Elordi: Perfectly Matched Flames

The film’s final, essential triumph lies in the incendiary pairing of Margot Robbie and Jacob Elordi. Together, they generate a magnetic, combustible intensity that defines this adaptation.

Robbie’s Catherine is wild, volatile, deeply flawed; a woman torn between sincerity and cruelty, longing and pride. She never judges the character, instead embracing her contradictions and rendering Catherine as a complex portrait of womanhood in emotional freefall.

Elordi’s Heathcliff is equally compelling: feral, vengeful, seductive, and terrifying. From rain-soaked physicality to simmering emotional menace, he embodies a dark romantic fantasy; a man driven by obsession, violence, and twisted devotion. Elordi owns every choice, marking this as another milestone in his rapidly evolving career.

Together, they are electric; a pairing that burns itself into the audience’s memory.

Final Verdict: A Valentine’s Day Reckoning

Emerald Fennell’s “Wuthering Heights” is a wild, lust-fuelled, untamed fever dream of love in all its excess. Bold, unapologetic, and emotionally unrestrained, this is a film that taps directly into the raw, dangerous power of desire. It will shatter expectations, scandalise the faint-hearted, and leave audiences frothing, breathless, and emotionally wrecked. Let it possess you. Let it consume you. You will come undone.

Image: Warner Brothers

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Watch the all-new trailer for Emerald Fennell’s “Wuthering Heights” below:

The new trailer for Fennell’s spectacular and bold adaptation of Brontë’s literary classic provides audiences with deeper context. It focuses on the dark and troubled relationship between headstrong wanderer and dreamer Catherine Earnshaw (Margot Robbie) and the abandoned, lost Heathcliff (Jacob Elordi). As the trailer unfolds, it descends into a portrayal of gothic horror, depicting how Heathcliff, cast out from the homestead of Wuthering Heights, returns to seek personal and grievous vengeance.

The new trailer focuses on the complex love story at the heart of “Wuthering Heights”. It showcases Fennell’s in-depth exploration of love, examining various aspects — from the innocence of a first kiss to the joy of blossoming desires. The trailer also delves into the raw and passionate feelings that arise from intimate moments, as well as the pain, heartbreak, and sorrow that often accompany these emotions. All of this is captured in the trailer, promising to enhance the experience of “Wuthering Heights” for audiences.

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One cannot also look past her maximalist vision for this story as through production design, scene decoration, costuming and hair and make-up, she crafts an errie, dreamlike ambience of bright colours and an almost operatic vision of hedonistic splendour that imagines this story as a fairy tale, and it’s heightened atmosphere will radiate the senses for audiences.

We also must say that Fennell has not shied away from the erotic undertones of the narrative, and with its Valentines Day release and plenty of bare skin, suggestive shots and heavy petting, Wuthering Heights will surely become an aphrodisiac for many looking to amplify their attractions and desires.

The new trailer also debuts in the wake of our first take of the film’s ambitious and haunting score from artist Charlie XCX, whose tracks “House” and “Chains of Love” have recently debuted online and have created a firestorm of passion form fans who have now sampled a new taste of what this bold feature has to offer.

Emerald Fennell’s “Wuthering Heights” is without-a-doubt one of our most anticipated releases of 2026, and with its maximalist leanings and fully rendered exploratin of the depths of love this will be a cinematic feature to savour and taste in every delicious mouthful when it arrives in cinemas on Valentines Day.

Image: Warner Brothers Pictures

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We’ve bene waited with baited breath for a first look at visionary amnd rising autuer filmmaker Emerald Fennell’s “Wuthering Heights” and the director, alongside her leading lady, Margot Robbie, delivered unto us a first look at their bold, fever-dream adaptation of Emily Bronte’s classic of gothic literature Wuthering Heights. And it’s eroticised trailer will spin you into a fit orgiastic-ecstasy with the promise of a bold and brazen new adaptation of classic literary source.

Watch the all new trailer for “Wuthering Heights” below:

From the outset it’s clear that Emerald Fennell’s “Wuthering Heights” is ‘not your momma’s Wuthering Heights’ and this is a film that is going to be a wild and eroticised story of burning passions, scared love and quivering gothic horrors and we’re all for this radical new interpretation that could make for one of 2026’s most exciting and visceral cinematic experiences.

Packed out with corset-ripping romance and intoxicating ecstasy, the new teaser trailer gives a taste of what is to come, and Fennell and Robbie are playing up the all-consuming love of Catherine Earnshaw (Robbie) and Heathcliff (Jacob Elordi) to the max. You only have to look at Fennell’s work on the celebrated Saltburn to get a taste of what is to come with Wuthering Heights, and it is clear that she’s really turning up the volume with a film that will consume its audience with a mix of passion and raw sex appeal.

Robbie, who for some, makes for a very unconventional choice in the role of Catherine, appears haunted and touched by a nervous sexual tension, and through the course of the new teaser, it’s clear that we’ll get to see a different side of her in relation to her performance with this role, and it’s her most daring take to date. Then there’s rising A-lister Jacob Elordi who smoulders on-screen as Heathcliff, whose raw masculinity develops into a brooding swagger, and he’s sure to make all the girlies go weak at the knees.

Fennell and cinematographer Linus Sandgren build off of their previous collaboration in Saltburn and have taken a pure maximalist approach to the film’s visuals, and this is a production that is sure to pop on screen, and your senses will be on fire with this picture.

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“Wuthering Heights” is undoubtedly one of our most anticipated films of 2026, and with its fire and erotic passion, it will be sure to whip audiences up into a frenzy, and you’ll want to watch this one on the biggest screen possible when it arrives in cinemas on Valentine’s Day 2026.

Image: Warner Brothers Pictures

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Struggling to find his place at Oxford University, Oliver Quick (Barry Keoghan) finds himself drawn into the world of the charming and aristocratic Felix Catton (Jacob Elordi), who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.

As a filmmaker with her finger on the pulse, Emerald Fennell has been one to watch ever since her shocking debut with her cracking story of female revenge in Promising Young Woman. It was a film that startled audiences and showcased a bold new filmmaking talent. Naturally, we were waiting for her next film with bated breath. That film is Saltburn. And it makes for a WILD watch. From its first images and marketing materials, it was clear this was going to be a lavish and sexy watch of exorbitant hedonistic urges. Fennell not only delivers the ultimate voluptuary watch, but she has control of every aspect of this ferocious feature. This focus and devotion to both narrative and character show in the final product.

Saltburn’s narrative is shaped by past influences, along with a collective feeling to themes of wealth, desire, obsession, jealousy and change. But all of it is fed through Fennell’s own unique vision. And for Fennell, the focus is on delivering the unexpected. Saltburn’s narrative does progress in the usual way, taking an almost Great Gatsby-esque approach to the initial first act, with the young poor Oliver Quick (Barry Keoghan) drawn to the affluent and beautiful Felix Catton (Jacob Elordi). But in Saltburn, nothing is what it seems, and Felix’s ancestral home and its many trappings act as a disguise and pull the audience into a host of new directions, each more shocking and twisted than the last. Character and narrative exist in a duality in Saltburn, and Fennell brings audiences a host of rogues, cads, delinquents, spinsters, and the queen bitch to this story, and her approach to her characters makes for a shockingly original watch.

At the centre of Saltburn is Barry Keoghan as Oliver Quick, a mousey, inconspicuous young college student who falls under the illusion and gaze of the beautiful and wealthy Felix Catton. And let it be said that Keoghan is a pure revelation in the role. His performance as Oliver is utterly subtle, and as an audience member, you never know what he’s going to do next. It’s plain and clear that the gorgeous Felix utterly spellbinds Oliver, but this mesmerizing voyeurism takes many twisting turns, and Oliver’s ultimate goals are not made clear until the picture’s final moments. Keoghan keeps audiences guessing with his performance, and whatever you think his ultimate aim is, well, you’ll never guess what he truly wants. Keoghan’s Oliver is a complex and resoundingly multi-faceted character, and through the narrative, we come to see his metamorphosis, and his change has lasting effects on the entire narrative.

Playing opposite Keoghan’s Oliver is Jacob Elordi as the wealthy, glamourous and utterly desirable Felix Catton, and via Elordi’s performance, it’s easy to see why Felix becomes the obsession of Oliver’s eye. Elordi is hands down the man of the moment right now, and he’s rapidly proving that he’s an actor who takes his craft seriously. Though he’s gifted with the looks of a Greek good and the quintessential cool of James Dean, Elordi is first and foremost an actor, and he’s choosing projects that fully test his range. And this suits Saltburn down to a tee. Elordi’s Felix is the ultimate upper-class prince. Dashing, charming and utterly dreamy, he instantly pulls people into his circle and under his spell. But this is no rehashing of The Great Gatsby, and Elordi’s Felix knows the power of his position in the world, and he has a cruelty of character that he’s more than happy to unleash when he wants to. Elordi’s performance as Felix is deeply impressive, and his character will spellbind audiences.

In addition to the leading presence of Keoghan and Elordi, Fennell fills out the rest of the cast with a range of stunning performers. And all leave their marks on the picture. Noted actress Rosamund Pike makes for the ultimate Queen Bitch as a Elsbeth, Lady Catton, Felix’s mother, and her tongue is wicked. Speaking in insults rather than pleasantries, Elsbeth’s frightful wit and banter will cause a reaction from audiences, and Pike steals every scene she is in. Alison Oliver’s Venetia Catton, Felix’s sister, is a playful tease, and her spacey demeanour sucks audiences in. Oliver is utterly witchy in the role, and she’s completely incorrigible. Archie Madekwe’s Farleigh Start, Felix’s cousin, is an A-class prat, and this spoilt prick takes an instant dislike to Oliver. Their back-and-forth hate is delicious, and Farleigh’s got one hell of a chip on his shoulder. Finally, the great Richard E. Grant brings everything together as Sir James, Lord Catton, Felix and Catton’s father, and he’s uniquely nuts in the picture.

Saltburn is an example of pure, unadulterated hedonism that is sprinkled with a good helping of fairy dust, cocaine and champagne in equal measure and topped off with a sizeable serving of nasty and stinging sexual energy. It’s a cocktail of pure manic bliss and is an utterly feral time in cinemas. But this rolling excess of crazy is not merely for pure shock value, well not just shock value, but it plays an essential part in the narrative and reveals the true intentions of our crazy batch of characters. There’s is a world that knows no limits, and this is expressed through the striking visuals and neon rainbow colour spectrum brought to the screen by Fennell and cinematographer Linus Sandgren. All of it will leave audiences in a buzzing trance.

A key part of the success of Saltburn and its hold over audiences is its magnificent setting. The famed and reclusive estate of the Drayton House serves this purpose, and it’s easy to get lost in the Catton family seat of Saltburn. The location and setting of this grand estate are the perfect places to tell this story, and we come to watch as Oliver quickly assimilates to its historical, weathered, and opulent rooms and soon begins to change in its presence. It’s a beautiful estate, and through a unique sense of production design, lighting and cinematography, audiences are pulled deeper into Fennell’s devilish and decadent narrative. I also must say that Saltburn is a film best enjoyed in the company of a full cinema, and the collective experience of watching this film is what makes it so flavorful to consume.

Nothing is off limits in Saltburn, and this is a picture that will set your senses on fire. It’s a piece of work from a director who is testing the edges of her cinematic voice, and Emerald Fennell is pushing the boundaries in every direction and with great results. Saltburn is a piece of cinema that is utterly unique in its style, and its narrative will be spinning around your mind for days on end. Once you arrive at this opulent and operatic tale, you won’t be able to leave.

Image: Warner Brothers Pictures

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Picture this – pretty young woman with a promising future blown away by trauma and tragedy. Enter our antihero, Cassandra ‘Cassie’ Thomas (Carey Mulligan). Pretty blonde locks, red lips, clad in pastels and lollipop coloured outfits and a ruthless attitude to boot. She’s on a path of vengeance to tackle the conscience of every man wanting to take advantage of a young drunk woman and has dropped out of med school to ensure it comes to an end.

Mulligan perfects Cassie’s cunning and calculated moves with skill. Meanwhile, debut director Emerald Fennell has crafted this film in such a way that it creates a quiet sense of unease that is sure to rattle her audience. The themes may be disturbing, but it serves to illuminate a harsh reality that many are willing to turn a blind eye to.

Cassie has made it her mission in life to gain justice for her friend Nina who was left broken after a messy ordeal that she suffered back in college, and which changed both of these best friends lives forever. The story follows through a series of tallies, where Cass keeps track of her ‘victims’. We see her take all efforts to rouse those she holds accountable for what happened to Nina, through establishing a ‘lived experience’ of losing control of themselves. And the combination of Mulligan’s performance and Fennell’s direction delivers the intensity of Cassie’s justice with a solid swing.

Fennell’s magnificent storytelling goes so far as to illuminate a spotlight on the darker things in life. Even to show how a few of the accused medical professionals go against their Hippocratic Oath to preserve their careers and esteem. Fennell’s direction toys with the audience throughout the picture and she gives this film a real knife’s edge feeling to the narrative.

Stylistically, Promising Young Woman is one of the coolest looking films released all year thanks to its neon laced cinematography, that blends the atmosphere of a 1980s music video with the dollhouse veneer of a Barbie playset. From the visual standpoint, there’s so much to enjoy and Fennell, along with cinematographer Benjamin Kračun, craft a look that could best be described as ‘a rom-com movie that veered into a slasher film’. It’s visually arresting and with the addition of an unsettling synth soundtrack from composter Anthony Willis, Promising Young Woman is the complete and total package.

Promising Young Woman is the revenge story of a badass, albeit traumatised woman who would risk her safety to avenge that person closest to her. With twists and turns throughout, you’ll be left guessing to the very end.

Image: Roadshow Films  

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