Sense and Sensibility

"No one knows your heart like a sister."

2026 2h 12m EN

👍

7.4

SOLID

★7.4TMDB · 31

DramaRomance

Synopsis

Spoiler shield

A charming, witty, and deeply relatable story of love and sisterhood.

“No one knows your heart like a sister.”

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Cast

Daisy Edgar-Jones
Elinor Dashwood
Esmé Creed-Miles
Marianne Dashwood
Caitríona Balfe
Mrs. Dashwood
Bodhi Rae Breathnach
Margaret Dashwood
Frank Dillane
John Willoughby
George MacKay
Edward Ferrars
Herbert Nordrum
Colonel Brandon
Fiona Shaw
Mrs. Jennings

Credits

Behind the camera

Director: Georgia Oakley
Writers: Diana Reid
Languages: English
Countries: United Kingdom, United States of America

Want more? Switch to Cinephile mode in the header for DP, composer, budget, box office, production companies, keywords, and release history.

Did you know?

Fun facts 🍿

1 / 8

ERA

Did you know

Released this year — you're seeing it while it's still in the cultural conversation.

MoodPlayr · trivia#01

2 / 8

WORLD

Did you know

International production across 2 countries: United Kingdom, United States of America.

MoodPlayr · trivia#02

3 / 8

DIRECTOR

Did you know

Directed by Georgia Oakley, shot by Arnaud Potier. Note their partnership — DPs and directors often return to each other across a career.

MoodPlayr · trivia#03

4 / 8

DIRECTOR

Did you know

Original score by Roger Goula. Worth a dedicated listen after — most great films lose half their impact without the score.

MoodPlayr · trivia#04

5 / 8

DIRECTOR

Did you know

Editor Izabella Curry shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.

MoodPlayr · trivia#05

6 / 8

CAST

Did you know

Daisy Edgar-Jones and Esmé Creed-Miles and Caitríona Balfe carry the top of the cast.

MoodPlayr · trivia#06

7 / 8

FACT

Did you know

Marketing tagline: "No one knows your heart like a sister.".

MoodPlayr · trivia#07

8 / 8

WILD

Did you know

IMDB entry: tt13609648 — still the authoritative cross-reference for credits and trivia.

MoodPlayr · trivia#08

Cinephile deep dive

The take

Georgia Oakley directs. Arnaud Potier behind the camera. Roger Goula scores. Izabella Curry cuts. Produced in United Kingdom, United States of America. Dialogue in English.

Trivia

Things worth knowing

1Released this year — you're seeing it while it's still in the cultural conversation.
2International production across 2 countries: United Kingdom, United States of America.
3Directed by Georgia Oakley, shot by Arnaud Potier. Note their partnership — DPs and directors often return to each other across a career.
4Original score by Roger Goula. Worth a dedicated listen after — most great films lose half their impact without the score.
5Editor Izabella Curry shaped the rhythm. On an edit-heavy film, the editor does more to control your pulse than the director.
6Daisy Edgar-Jones and Esmé Creed-Miles and Caitríona Balfe carry the top of the cast.
7Marketing tagline: "No one knows your heart like a sister.".
8IMDB entry: tt13609648 — still the authoritative cross-reference for credits and trivia.
9Only 31 TMDB ratings — you're getting ahead of the curve on this one.
10Classified under 16 themes, including "class society", "based on novel or book", "england", "feminism".

The technical file

Cinematography: Arnaud Potier
Original score: Roger Goula
Editing: Izabella Curry
Production design: Francesca Balestra Di Mottola
Costume design: Grace Snell
Makeup / hair: Nadia Stacey
VFX supervisor: Tallulah Baker
Sound: James Mather
Stunt coordinator: Florian Robin
Runtime: 132 min · 2h 12m
Aspect ratio (typical): 1.37:1 (Academy)
Status: Released
Original language: EN
Certification (US): PG
IMDB: Sense and Sensibility (2026)

Also by

Georgia Oakley

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Community reviews

What people are saying

CinemaSerf2026-10-01
★ 7/10
I've never really been a fan of the period rom-com, but hats off to Georgia Oakley and Diana Reid for loosening some of the corset strings and presenting us with an actually quite amiable adaptation of Jane Austen's story of love and loss amongst the English upper-middle classes. Daddy "Dashwood" has passed away leaving his extensive property portfolio to his son by his first marriage (Tom Brooke) and so his second family that includes his widow (Caitríona Balfe) and their four daughters are out on their ear. Luckily, a distant cousin hears of their predicament and offers to help, so next thing they are all living in a substantial farmhouse as guests of the effusive and voluptuous "Mrs. Jennings" (Fiona Shaw) and her affable son-in-law "Sir John" (Turlough Convery). Now established in their new home, the story shifts to focus on their complex love lives and that sees "Elinor" (Daisy Edgar-Jones) begin a most complicated waltz with the already affianced "Ferrars" (George MacKay); "Marianne" (Esmé Creed-Miles) begins two dances of her own with the charming but probably rakish "Willoughby" (Frank Dillane) and the reticent "Col. Brandon" (Herbert Nordrum) and then there's "Fanny" (Stacy Martin) and the curious young "Maggie" (Bodhi Rae Breathnach) whose objectivity on all the grown-up romantic shenanigans brings an additionally humorous perspective to matters as she completes this quintet of women treading on the eggshells of social restrictions, acceptibility and turbulent affaires des cœurs. There are a couple of notable dynamics to enjoy here with Creed-Miles and Edgar-Jones presenting the contrasting characterisations of the flighty and spontaneous with the more responsible and measured quite effectively throughout. Edgar-Jones and MacKay also work well, even though the latter gent appears a little too sparingly for me, and Messrs. Nordrum and the slightly underwhelming Dillane do just about enough to keep the elements of starch-laden mischief simmering along. Shaw is a scene stealer very much in the vein of Elizabeth Spriggs's slightly vulgar bonne vivante from 1995 and on the whole the ladies here carry the story powerfully and entertainingly with a minimum of sentiment and damsel-in-distressness. Less emphasis is made here on any social commentary about the obviously subordinated role of women in society at the time, but maybe that works better as a less-being-more message that is clear for us to appreciate without it dominating the proceedings. It's a sumptuous looking interpretation, but I also felt it a darker and more authentic take on life in an nation that even for the wealthy meant you were never far from mud, darkness, lies and deceit. This is a more relaxed and enjoyable version of this oft-told story, and I quite enjoyed it.

Production companies