The masterstroke of red carpet method dressing by Robbie’s stylist, Andrew Mukamal, who famously came up with countless looks for the Barbie press tour, started with The Elizabeth Taylor Estate, which had reached out to him about touring the archives several months ago. “We were thrilled when Andrew got in touch, and we offered him the Taj Mahal Diamond for Margot Robbie to wear to the world premiere of ‘Wuthering Heights,'” says Tim Mendelson, a Trustee of the Elizabeth Taylor Estate. “Elizabeth cherished the symbolism of jewelry, and no other piece in her legendary collection is more connected to epic, undeniable, and tempestuous love that transcends time and even death than the Taj Mahal Diamond.” (Marion Fasel)
The Independent wonders 'The more delulu the better? The Wuthering Heights press tour is off to an intense start'. With just over a fortnight to go until Emerald Fennell’s already discourse-dominating Wuthering Heights arrives in cinemas, the film’s stars have kicked off what looks set to be an incredibly stylish – and slightly unhinged – press tour. After countless Barbie-themed looks while promoting Greta Gerwig’s billion-dollar-grossing film, star Margot Robbie has pivoted to gothic-inspired fashion for her Wuthering Heights promotional engagements (think sheer lace, chokers and plenty of tousled hair). And in a move that feels in line with the marketing for Wicked and Marty Supreme, Robbie and her co-star Jacob Elordi – who are controversially playing destructive lovers Cathy and Heathcliff – are so far drumming up interest in their film by blurring the lines between fiction and reality. Robbie’s wrap gift for the Euphoria star has been revealed, and while the pair stopped short of getting matching tattoos à la the Wicked girlies (as far as we know), the former Neighbours actor had signet rings custom-made for herself and Elordi. The bespoke jewellery features two skeletons entwined with each other – in the same pose as the film’s posters – and the Emily Brontë quote: “Whatever our souls are made of, his and mine are the same.” It’s a beautiful, but rather intense, gift for a co-worker, eh? This came just days after the release of a Vogue Australia interview, which saw the two Queenslanders trade anecdotes about their time filming the movie. Robbie – who also served as a producer – recalled how Elordi, “as Heathcliff”, filled her dressing room with red roses on Valentine’s Day. “It wasn’t just the gesture of the roses, it was the thing written from Heathcliff, and that little tombstone thing,” she said. “I was like, ah, crafts! Love that. It was crafty, it was meaningful, it was dramatic.” And in another interview, with US platform Fandango, Elordi admitted he had an “obsession” with Robbie during filming. “If you have the opportunity to share a film set with Margot Robbie, you’re going to make sure you’re within five to 10 metres at all times,” he said. “Watching how she drinks tea, how she eats her food, how she does it. When is it going to slip? When is the thing going to come undone? And, it never comes undone.” It’s a confession that would, in any other industry, spark a call from HR. But to market a film in 2026? The winning vibe nowadays seems to be “the more delulu, the better”. Who cares that Robbie is married with a baby, and Elordi is reportedly back with his influencer ex? Perhaps Warner Bros think we’ll forget these key details. (Rachel McGrath)
Similarly, The Guardian is calling it a 'showmance' and wonders how long it's going to last. Even though it isn’t released for another fortnight, you may already have formed strong opinions about Emerald Fennell’s Wuthering Heights. Perhaps you hold the position that the novel is a text so sacred that any adaptation whatsoever is equivalent to sacrilege. Or maybe you are excited to see what a noted iconoclast such as Fennell will do with something as fusty as a 179-year-old book. Either way, it is likely that your key takeaway from the Wuthering Heights press tour so far is that it’s getting a bit much. It has now been revealed that Margot Robbie and Jacob Elordi have matching rings decorated with two hugging skeletons and the phrase “Whatever our souls are made of, his and mine are the same”. Maybe if that was the extent of it, this would be fine. But it has come at the thin end of a campaign during which Elordi and Robbie have both tried really, really hard to make everyone think they are besotted lovers and not professional colleagues with a product to sell. There was the interview in January in which Robbie revealed that, during filming, Elordi would always make sure he was closely watching her on set, even when he was not required, and that even his occasional absence would result in her feeling “lost, like a kid without their blanket or something.” Or the time when Elordi claimed they had a “mutual obsession”. Or when Robbie revealed that Elordi filled her room with roses on Valentine’s day, prompting her to think “Oh, he’s probably a very good boyfriend”. It all sounds highly romantic and very sexy … at least until you remember that Margot Robbie is married to Tom Ackerley, with whom she has a child who was four months old at the time of the Valentine’s Day roses, that she and Ackerley are co-producers of Wuthering Heights, and that this campaign is probably the product of a high-level discussion between them and the Warner Bros publicity department during which everybody agreed on the precise degree to which Robbie would pretend to be gooey-eyed about her co-star. It’s all getting a bit Wicked, isn’t it? That had a press cycle so overcooked that, in order to enjoy the film, you had to divorce yourself from the image of Ariana Grande and Cynthia Erivo clinging to each other during every interview and sobbing like they’d just watched their childhood houses burn down. Is this approach becoming the norm? Is this how stupid we’ve become? Obviously film campaigns have had to change with the times, because the old way of magazine profiles and formal sit-down interviews has given way to nebulous social media buzz. But to watch Robbie and Elordi go moony-eyed over each other – knowing full well they’ll drop the artifice like a stone when they each get something new to promote – is to realise that something has gone badly wrong. Do we really need to form parasocial relationships with the people we see in films, tailored specifically to the tone of the project, in order to enjoy them? Wasn’t there a time when we just innately understood that an actor’s performance began with the opening credits and ended when the lights went up? It makes you worry for the future. For instance, Greta Gerwig’s new Narnia film is due to be released this year, and Emma Mackey is playing the witch. Does this mean that, a few months before its release, Mackey will start pretending that her family are virulently anti-Christmas? Is she going to do TikToks in which she growls at children? Will she do a press junket next to a real life lion that she will be contractually obliged to slag off at every opportunity? The hope has to be that all these shenanigans will help Wuthering Heights cross over and become a Barbie-style phenomenon. But it’s coming at the expense of our brain cells. We’re all adults here. We should be able to tell the difference between an actor and the character they play, or else we’re surely doomed. Hopefully this is the high watermark of the Wuthering Heights campaign, with any luck this element of the promotion will recede, and the final fortnight will be about the film itself and not the extent to which the leads are willing to pretend to be in love. That is, unless Margot Robbie and Jacob Elordi want to adopt a child before its release, and agree to raise it to adulthood. That really would be a level of commitment we could all get behind. (Stuart Heritage)
The Tab also questions the approach of the promo.
While Brontë’s book is primarily set in the late 18th century, painstakingly recreating Georgian architectural details was not at the top of the to-do list for Davies and her team, including set decorator Charlotte Dirickx. (The pair also worked on Saltburn together.) “We were aiming for an accuracy of feeling rather than period,” explains Davies. “All the design and the vision of it had to be felt before it was understood. We were playing into every sensation. We often spoke about how it’d be great if we could have Smell-O-Vision. It’d be lovely to give the audience bits of the walls that you can touch.” Many literature lovers and fans of the book are already grumbling on Reddit about every aspect of this film, which hits theaters February 13: from the casting of Margot Robbie as Catherine and Jacob Elordi as Heathcliff (these critiques are valid) to the plot (please note the quotation marks around the film’s title!) to the similarly anachronistic costumes. This is not your mother’s—or even the BBC’s—Wuthering Heights. There’s a fan-fiction-like quality to it, right down to the sexy scenes that certainly don’t appear in the novel. But whatever your opinion, there’s no denying that it is an absolutely immersive visual feast—the closest thing possible to being able to touch, taste, or smell through a screen. Fennell has said she “wanted to make something that made me feel like I felt when I first read it” as a teenager, and according to Davies, that’s exactly what they did, pulling references from things a teenager in the late ’90s or early 2000s would’ve been familiar with, such as Gone With the Wind and Stanley Kubrick’s films. “Once we found our language, we sort of knew just to keep the dials turned up,” she says. So cue the Charli XCX soundtrack, and let’s break down what all of the design choices mean. If ever there were two literary foils, it is Wuthering Heights and Thrushcross Grange, and the film leans just as heavily on this dichotomy. The former sits high on a hill where the wind never seems to cease (hence its name), and it is dark, cold, and “bruised,” says Davies, with nature always encroaching. It is where Catherine and Heathcliff bond as children. A place the inhabitants want to escape, it was only fitting for Davies to add a large, dramatic archway for characters to pass through when entering and exiting the courtyard, symbolizing a crossing of the threshold between the sad world inside and the possibilities beyond. When Catherine leaves Wuthering Heights and goes to Thrushcross Grange for the first time, “it’s technicolor,” says Davies. “It’s like she’s never seen this before.” (She hasn’t!) There she meets her neighbors, Edgar and Isabella Linton, and is enveloped in a rainbow of colors and a cornucopia of fabrics—including drapes made of cellophane—and textures. “It looked like a jewelry box,” says Dirickx. Make your own inference about what this means in this hot and heavy version of Wuthering Heights, but everything in this movie is wet. During AD’s video tour of the Thrushcross Grange set, the camera offers a close-up look at the clear droplets adorning the walls in the dining room. “I think my favorite thing about the room is how it looks like there is really beautiful condensation—like the walls are sweating, but in a very beautiful way,” Margot Robbie says. When Catherine eventually falls ill in the film, the walls of her room (made to look like her skin—more on that coming up!) drip with her actual sweat as well. Up at Wuthering Heights, the exterior of the home is covered in shiny tiles, something that definitely would not have appeared on an actual home built in Northern England in the 1500s, but Davies selected it for the material’s ability to “feel the sweat and rain that happens all the time there,” she says. “I knew I wanted something shiny and moist.” Technically, Fennell forgoes exploring Catherine’s ghost to focus much more on concerns of the earthly body…. But these houses still feel haunted, especially with all of the body parts adorning Thrushcross Grange. Plaster hands made from molds of the hands of the film crew are everywhere, appearing as candleholders, a sculpture emerging from the fireplace, and on ceiling roses in every room. “They’re quite a gothic symbol,” says Davies. “It was about [the characters] having their hands on everything. And it’s just that subconscious feeling for the audience, the uneasiness of what those hands are up to. It’s just playing on that sensuality and sexuality of the characters’ love story.” Other human traits in the design include a table with a hair curtain and the walls of Catherine’s Thrushcross Grange bedroom, which are made to look exactly like her skin. To accomplish this, Davies printed a picture of Margot Robbie’s arm directly onto pieces of fabric, which were then covered in stretched latex to create wall panels. “In that final top shot [of the film], you can see her veins on the carpet too,” reveals Dirickx. Does the sweat pouring from her walls make more sense now? Not only that, but in one scene, tiny prop leeches suck on the walls as well as on Robbie’s body. Can you spoil a nearly 180-year-old tale? Well, anyway, after Catherine’s first taste of color and comfort at Thrushcross Grange, she marries Edgar Linton and moves in. You’d think that escaping the prison-like Wuthering Heights (where the ceiling in the kitchen purposefully encroaches upon Jacob Elordi’s six-foot-five frame) would bring her happiness, but her longing for Heathcliff takes hold and doesn’t let go. “Whatever our souls are made of, his and mine are the same,” she famously says. She is a prisoner all over again in her new surroundings, and this is represented in the sets. In the library, a lamb sits encased in glass. At dinner, Catherine absentmindedly sticks her finger into an aspic mold with a fish in it. In the garden, goldfish swim in clear glass vases. And, perhaps most poignantly, everything exists in miniature as Isabella Linton’s plaything, the dollhouse that sits in the dining room at Thrushcross Grange. It was written into the script by Fennell, and “is such an important part, I think, of her understanding of that book and how she imagined it,” Davies says. (Rachel Wallace)
Mirror has an article about the film, a summing-up of sorts of all that we have read during all these months. The Booker Prize has selected 'Eight Booker-nominated books for fans of Wuthering Heights'. Herzindagi lists the 'Top 5 Books To Add To Your Reading Wishlist After You Enjoyed Wuthering Heights'. History has an article on 'How ‘Wuthering Heights’ Pushed Victorian Boundaries'.
A contributor to TimesNowNews has ditched social media at night and turned to Victorian literature instead. So I did something that felt slightly unhinged in the moment, deleting the apps and picking up a book I'd bought two years ago but never opened, 'Jane Eyre' by Charlotte Brontë, which had been sitting there accumulating dust and silent judgment. Six months later, I'm sitting here with a stack of Victorian novels beside me and a brain that feels fundamentally reconfigured, as though some dormant neural pathways have suddenly remembered how to function. The first week was brutal in ways I hadn't anticipated, my fingers reaching for my phone with that reflexive muscle memory, unlocking it and staring at the home screen before remembering there was nothing to scroll through anymore. But then Jane Eyre pulled me in with its deliberate pacing and intricate prose, and I began to understand something about Victorian novels that I'd never grasped before. They demand your full attention in a way that nothing else quite does, refusing to be skimmed while waiting for the chai to boil, insisting that you sit down and actually read, word by word, page by page. [...] Another underrated discovery was 'The Tenant of Wildfell Hall' by Anne Brontë, whose literary accomplishments are perpetually overshadowed by her more famous sisters' reputations. Anne wrote this remarkably bold novel about a woman leaving an abusive marriage in 1848, a time when women legally couldn't own property or make independent decisions about their lives. (Girish Shukla)
More Wuthering Heights 2026 merchandising. BlackMilk Clothing has an officially licensed collection inspired by the movie: .png) Some loves do not arrive gently.
They lean in. They linger. They refuse to leave.
This officially licensed "Wuthering Heights" collection is shaped by the ache that lives between bodies, by desire held too long and spoken too late. Drawn from the world of the upcoming film, it carries the hush of moors at dusk, the heat of breath against skin, the tremor of wanting that never quite settles. Velvet moves like memory, warm, deliberate, impossible to ignore. Lace drifts and clings in equal measure, tracing the body as though remembering it. Sheer layers hover and fall, catching light and shadow like the moment before surrender, when longing sharpens and everything else fades. Each piece feels intimate, as if it belongs to a private hour. Dresses follow the body with quiet insistence, skimming, pooling, waiting. Coats wrap close, heavy with presence, with the promise of warmth that feels almost dangerous. Words appear not as decoration but as murmurs, confessions stitched into fabric, meant to be read slowly, felt rather than understood. The palette lives in shadow and heat, black as night, black cherry as wine-dark longing, juniper as dusk pressed into green. Textures layer like sensation: burned velvet against bare skin, lace against air, softness edged with ache. Inspired by "Wuthering Heights", this collection holds the kind of love that alters you. Not sweet. Not fleeting. A devotion that presses close, that stains the soul, that whispers be with me long after the room has gone quiet. Released for Valentine’s Day, this is romance stripped of softness. It is for those who crave closeness that borders on obsession, for lovers of gothic fashion and cinematic silhouettes that feel lived-in, intimate, and undeniably charged.
Wear it like a secret you never meant to tell.
Like a touch that stays.
Like a love that would rather undo you than ever let you go.
Elle follows closely the beginning of Margot Robbie's press tour for Wuthering Heights by looking at the dresses she wore and her interview on Jimmy Kimmel Live! Several other sites such as Bustle, L'Officiel and many, many more also examine each and every aspect of each and every look. Vogue describes one of her looks: Kicking off proceedings yesterday, Margot appeared in a baroque-meets-IG-baddie take on the naked dress: a lacy McQueen number from spring 2026 that would have 18th-century ladies reaching for their smelling salts. [...] Confirming that Robbie’s take on the Brontë heroine will be more Bridgerton-style bodice ripper, the actress also stepped out in a teeny-tiny Roberto Cavalli minidress, paired with Louboutins: the obvious choice of footwear for navigating the Yorkshire moors. (Olivia Allen)
Screen Rant reports that Wuthering Heights 1939 will be available for streaming on HBO Max starting on February 1st. 1939's Wuthering Heights, starring Laurence Olivier as Heathcliff and Merle Oberon as Cathy, will be available to stream on HBO Max from February 1, among the many titles joining the streaming platform next month. This is the first known movie adaptation of Wuthering Heights with sound; it went on to be nominated for eight Oscars and has a 96% on Rotten Tomatoes from 25 reviews. The streaming release of arguably the most famous movie version of this story comes at the perfect time for those who want to engage in a discussion about adaptations of Wuthering Heights. Emerald Fennell's new Wuthering Heights, starring Margot Robbie and Jacob Elordi, will hit theaters on February 13, aiming to make the most of the Valentine's Day weekend. [...] Other adaptations of Wuthering Heights viewers could check out at this time include the 1992 version with Ralph Fiennes and Juliette Binoche on Pluto TV — the first movie to adapt the entire novel, rather than just the first half — and the 2011 one with Kaya Scodelario and James Howson on AMC+. However, historically, problems such as Heathcliff nearly always being played by a white actor and too much focus on the romance elements have persisted. (Abigail Stevens)
A contributor to The Australian argues that 'Heathcliff is a violent abuser, not a romantic hero'. (Not self-excluding; Heathcliff is a Romantic--capital R--hero). ‘The greatest love story of all time!” So proclaims the trailer for Emerald Fennell’s film adaptation of Wuthering Heights. Images of Margot Robbie and Jacob Elordi looking moody and sultry abound. If the message isn’t clear enough, it’s also being released this Valentine’s Day. Did we read the same book, Ms Fennell? Wuthering Heights, written by Emily Brontë and published in 1847, is one of the most original books in the English language. But a love story it ain’t. Open the book at any point and what you find is a devastating description of domestic violence and intergenerational trauma. The story takes place in and around a farmhouse called Wuthering Heights on the Yorkshire Moors. During a business trip to Liverpool, the master of the house encounters a starving orphan and decides to raise him alongside his own children, Hindley and Catherine. He names him Heathcliff. Rather than welcoming the foundling, Hindley tortures him. He throws an iron weight at Heathcliff’s head then knocks him under a horse. When Hindley inherits Wuthering Heights, he unleashes a reign of terror. During his drunken rages, he sticks a carving knife into his housekeeper’s mouth and drops his own baby over the banisters of the staircase. During these years, Heathcliff and Catherine develop a co-dependent bond while perpetuating the cruelty inflicted on them with everyone they encounter. Heathcliff and Catherine describe their feelings for one another as “love”, but there is little romance. In a famous passage, Catherine tells the trusty housekeeper that her miseries have also been Heathcliff’s. “I am Heathcliff!” She says. “He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.” The intensity of their emotions, and their identification as a single traumatised unit, has inspired the reductive (and rather boring) notion that Brontë wrote a love story set on the moors. Jane Austen in gum boots, if you will. Kate Bush’s brilliant debut single “Wuthering Heights” from 1978 perpetuated that myth. We’d roll and fall in green … You had a temper like my jealousy … I needed to possess you. What’s not to like? The name “Heathcliff” became a synonym for a brooding, sullen and desperately sexy rebel. The James Dean of English fiction. Or should that be Jacob Elordi? Smash cut back to the book. In Brontë’s Heathcliff, we get a portrait of a psychotic misanthrope, who commits random acts of violence against everyone around him. When he marries, it’s not to Catherine, but a girl he hates. He jeers at her for mistaking him as a ‘hero of romance’, throws a carving knife at her face and hangs her dog. He then kidnaps Catherine’s daughter, forces her to marry his son, beats her about the head and dreams of – in his own words – submitting both of them to slow vivisection as an evening’s amusement. “He’s not a rough diamond,” Catherine says at one point. “He’s a fierce, pitiless, wolfish man … There’s my picture: and I’m his friend.” So where did Brontë get the inspiration for this bizarre and terrifying character? Emily Brontë grew up in Haworth Parsonage on the edge of the Yorkshire moors. Her mother died when she was little as did two of her sisters. The four remaining Brontë children – Charlotte, Anne, Branwell and Emily – struggled into adulthood together. Emily felt a deep connection to the landscape of her home, just as Catherine does in Wuthering Heights. She only left Haworth on a few occasions and, each time, her mental health deteriorated. Her older sister Charlotte (author of Jane Eyre) described what happened when they went to boarding school: Every morning when she woke, the vision of home and the moors rushed on her, and darkened and saddened the day that lay before her … I felt in my heart she would die if she did not go home, and with this conviction obtained her recall.’’ “He’s not a rough diamond,” Catherine says at one point. “He’s a fierce, pitiless, wolfish man … There’s my picture: and I’m his friend.” So where did Brontë get the inspiration for this bizarre and terrifying character? Emily Bronte grew up in Haworth Parsonage on the edge of the Yorkshire moors. Her mother died when she was little as did two of her sisters. The four remaining Brontë children – Charlotte, Anne, Branwell and Emily – struggled into adulthood together. Emily felt a deep connection to the landscape of her home, just as Catherine does in Wuthering Heights. She only left Haworth on a few occasions and, each time, her mental health deteriorated. Her older sister Charlotte (author of Jane Eyre) described what happened when they went to boarding school: Every morning when she woke, the vision of home and the moors rushed on her, and darkened and saddened the day that lay before her … I felt in my heart she would die if she did not go home, and with this conviction obtained her recall.’’ This terror is evident in the novels the three sisters wrote around the same time, each of which revolves around a violent maniac. Charlotte Brontë’s Jane Eyre is haunted by the “madwoman in the attic” at Thornfield Hall, while the heroine of Anne Brontë’s The Tenant of Wildfell Hall is abused by her violent, alcoholic husband. And then there’s Heathcliff. Knowing about Emily’s brother helps us make sense of Heathcliff and Catherine’s relationship. I don’t read this as a romantic love affair, but the co-dependence of abused siblings. The inquiry running through Wuthering Heights isn’t “will they, won’t they?”, but something far more interesting. How do people move on from traumatic childhoods? Heathcliff and Catherine can’t, which is why Brontë bumps off Catherine halfway through the book. Gradually, the focus moves to the next generation and the relationship between Hareton (son of Hindley) and Catherine’s daughter. They too are traumatised individuals, who have been tormented by Heathcliff just as he was in his childhood. At first, Hareton and Catherine Junior hate one another, but they make a conscious decision to break the cycle. They learn compassion and that, in turn, leads to love. If Wuthering Heights can be said to have romantic leads, it should be Hareton and Catherine Junior. But Kate Bush never sang, “Hareton, It’s me, I’m Cathy Junior” and they’re not even in the cast list for Emerald Fennell’s film. Does it matter if a film adaptation promotes Wuthering Heights as the greatest love story of all time? In theory, no. Reinterpretation is what keeps stories alive. But I do have a problem with the way an perceptive portrait of domestic violence is continually translated into a sadomasochistic sex fantasy. Almost two hundred years on from Emily Brontë’s day, domestic violence remains one of the intractable evils in our society. According to the Australian Institute of Health and Welfare, one in four women and one in eight men in Australia have experienced family and domestic violence by a partner or family member. You can interpret Wuthering Heights in any number of ways, but you cannot take the domestic violence out of it. So the more we portray Wuthering Heights as a love story and Heathcliff as a sex symbol, the more we betray the intention of Emily Brontë’s complex masterpiece, blur the lines between desire and violence, and promote the age-old lie that true love hurts. Wuthering Heights continues to inspire wonder in readers and is one of the syllabus set classics that most resonates with teenagers. I believe it does this because Emily Brontë set out to write something much more interesting than a love story – conventional or otherwise. So, by all means, go see Wuthering Heights at the cinema – but maybe not on Valentine’s Day. (Jonty Claypole)
The English Garden features Norton Conyers (with special attention to its garden), possible inspiration of Thornfield Hall in Jane Eyre. The Eyre Guide wonders 'What if … Bertha didn’t die in a fire?'
Geeks of Doom has an article listing all the Wuthering Heights book tie-ins from the new film.
The official movie tie-in edition with the movie poster cover:
by Emily Brontë Penguin Books ISBN: 978-0143139140 February 3, 2026
Emily Brontë’s only novel and a gothic classic—a gripping story of obsession, revenge, and tragedy—now the feature film “Wuthering Heights” from Emerald Fennell, which captures the spirit of this epic love story and stars Margot Robbie as Cathy and Jacob Elordi as Heathcliff.
Another MTI edition with a different cover, available only at Target, includes a foreword from Emerald Fennell and a four-page photo insert with stills from the film.
by Emily Brontë Penguin Books UPC: 9780593513552 February 3, 2026
Another paperback edition published by Simon & Schuster in the Female Filmmakers Collection. With an introduction by Emerald Fennell:
by Emily Brontë Simon & Schuster ISBN: Female Filmmakers Collection Feburary 3, 2026
Set against the desolate beauty of the Yorkshire moors, the all-consuming love between Catherine Earnshaw and the foundling Heathcliff has captivated readers for centuries. When forces of class and society tear them apart, Heathcliff embarks on a bitter quest for vengeance that threatens to destroy two generations of the Linton and Earnshaw families. This paperback is part of Simon & Schuster's Female Filmmakers Collection, a series of books thoughtfully curated by female filmmakers. Each title includes an introduction by a woman who has made an indelible impact on cinema. Celebrate over a century of female filmmaking and discover the classics—timeless and modern—that inspired the creators behind your favorite films.
A couple of days ago Warner Bros. released this clip from Wuthering Heights. Just Jared has created a gallery of photos of all things Wuthering Heights 2026. A contributor to Cineworld gives 7 reasons why she can't wait to watch the film. When I say I have been yearning for Emerald Fennell’s book to screen adaptation of Wuthering Heights, that’s putting it lightly. Especially now we’ve heard from the Saltburn director herself on what we can expect from her version of Emily Brontë’s famous classic. Arriving at Cineworld on 13th February, you can book tickets now to see it in IMAX and Superscreen. While the purists are in uproar over casting, historical accuracy, and the like of Wuthering Heights, I couldn’t be more excited to see something that is sure to be so visually eye-catching and entirely Emerald Fennell. Who doesn’t love a good passionate yet soul-destroying love story? Emerald wanted to create an adaptation that encompassed how it felt to read it for the first time Everyone experiences art differently, whether it’s a book or a film. This is Emerald Fennell’s version of Wuthering Heights, both the way she experienced it as a teenager, as well as everything she hoped for but didn’t get. It’s an amalgamation of Brontë’s work with Fennell’s own whimsical, lovesick imagination. And we can all relate to that, right? That’s what Margot Robbie had to say about it in an interview with Fandango, and the idea has me absolutely enchanted. “There’s been so many movies and TV series and stuff made, but I think the point of difference here is this is Emerald making you feel the way the book made her feel when she read it.” When talking about taking on an adaptation of a book as pivotal as this, Fennell said, “Look, there’s a version that I remembered reading that isn’t quite real. And there’s a version where I wanted stuff to happen that never did. And so it is Wuthering Heights, and it isn’t.” If you’ve watched any of Emerald Fennell’s other movies, you’ll be very happy to be back inside her head for Wuthering Heights, that’s for sure. It’s all provocative fun and a little bit of weirdness. Emerald wants us to cry so hard we vomit while watching Wuthering Heights In the same all-cast interview, Robbie also pulled back the curtain on something else Fennell had disclosed with the star about her hopes for the adaptation: “I want people to cry so hard they vomit.” Sobbing? Crying? It’s all the same thing at this point. And we all know Emerald loves bodily fluids if that bathtub scene in Saltburn is anything to go by. Whether you find that visual disgusting or not, I think this is a pretty great indicator of how tumultuous this adaptation is going to be. And I’m ready to be ruined – if that wasn’t already completely obvious. The way Emerald Fennells talks about the relationship between Cathy and Heathcliff is just everything If you’re not here for stories that find love in unlikely places or it being so wrong it’s right, then fine, maybe this isn’t for you. Like I said, I love a story that emotionally ruins me, and that’s exactly how Fennell describes it. “When I first read it, it destroyed me. But it didn’t just destroy me, because it’s beautiful and it’s sad. It’s a very destabilising work of art. It’s a very complicated thing, because what Emily Brontë asks us to do is to love two– In fact, not two, a whole realm of incredibly difficult and unlovable characters.” There’s nothing more interesting to me than, you know, making everyone fall in love with people who maybe aren’t traditionally lovable.” Hell yes, sign me up! Emerald Fennell’s explanation of the quotation marks around Wuthering Heights and her commitment to the classic that she loves Some may disagree on this, but I actually think Emerald Fennell really respects Emily Brontë’s Wuthering Heights in its original form, and that she shows that appreciation by completely cutting it up and sticking it back together in a way that is entirely different. The fact of the matter is you’ll never be able to adapt something completely faithfully. Still, Fennell put the work in – speaking to the Brontë parsonage and to other fans of the book in order to create something they feel a part of. However, when talking about the choice of quote marks around the title on the film poster, Fennell said, The thing for me is that you can’t adapt a book as dense and complicated and difficult as this book. I can’t say I’m making Wuthering Heights. It’s not possible. What I can say is I’m making a version of it.” Also, as previously pointed out by the queen Margot Robbie, there’s been a lot of adaptations. What’s the point in producing the same thing again? Here for female directors putting their own stamp on things and creating something completely left field and fun. The costume design is just incredible Sure, fine, they’re not exactly accurate to the period, but what Jacqueline Durran has achieved is simply enchanting. Described as “a fantasy of a fantasy”, tailored to the character rather than the time period of the book. Margot Robbie’s Cathy is a blonde bombshell sporting German milkmaid-esque corsets and Elton John sunglasses that would put the musician to shame. In an interview with Vogue Australia, Duran shared that between 45 and 50 costumes were made for Cathy, with inspiration taken anywhere from Elizabethan to Victorian times, to the 1950s, and more modern styles. It’s all beautifully meshed together, incredibly bold, and, yes, provocative. The skin wall is insane – as are all the other visuals The costumes are amazing – but, holy moly, can we take a moment to talk about the visuals? All we have to go on is the trailer, but I am simply obsessed with the skin wall and a frustrated Cathy that we see thrown against it, digging her fingers into the flesh. Then there’s Thrushcross Grange, baby blue and there in miniature too as the dollhouse, with shots of Cathy mirrored as both a doll and Margot Robbie in all her beauty. Of course, there’s the dramatic Yorkshire moors, too, and the pooling red vinyl floor that seems to continue off of Cathy’s dramatic bloodred skirt. This movie is about to be my entire personality. Charli xcx has written the soundtrack She gave us BRAT summer, and now she’s giving us whimsical winter with her tracks for the Wuthering Heights soundtrack. A few tracks have already been released ahead of the film, including “Chains of Love” which I’m simply obsessed with. I think it’s a choice to have one artist signed on for the whole soundtrack. It’s giving seamless. It’s giving capsule. It’s giving chic. And I think Charli xcx’s sound is perfect – electric and experimental while still being sultry and maybe a little bit dirty. (Alice Marshall)
Do you believe films based on literature have a duty to be faithful to the source material, or should filmmakers run with their interpretations? I tend to favor adaptations that try to capture the spirit of the literary base-text, as opposed to total fidelity. The most recent Frankenstein, for instance, also starring Jacob Elordi, veers wildly from Shelley’s original, yet seems also to convey the wonderfully complex strangeness that she built into her amazing novel. In terms of Wuthering Heights adaptations, I appreciate the versions that try to account for the multi-generational aspect of her plot. Most film versions stick to Cathy and Heathcliff. Cutting the entire second half of the novel isn’t in keeping with the spirit of her work. Yes, “Wuthering Heights” is most famous for the romance between Catherine and Heathcliff. What other aspects deserve more attention? Certainly, the second half of the novel, which centers on the children of the key first-half figures, deserves more filmic representation. Versions that only give us the first half undercut the complexity of Brontë’s non-linear plot, not to mention the various doppelganger effects at play. The novel’s emphasis on cycles of violence and the extent to which the past haunts the present gather particular force in the novel’s second half. I also think that Nelly [Dean] deserves more attention. While she’s not the narrator proper (that’s Lockwood, in the novel’s framing device), she’s nevertheless the key to all information that we get about both the Earnshaws and the Lintons in the novel. What about “Wuthering Heights” is often misunderstood by modern audiences? I think that the drama of the tortured love theme often distracts away from the emphasis Brontë places throughout the novel on properties and possessions. This is a novel deeply interested in who owns what — and how they come into that ownership. While the supernatural theme doubles down on “possession,” it’s Brontë’s critical view of the patriarchal arrangements of the material world that carries the most force. Of past film versions of the book, which is your favorite and why? All of them have flaws; some are pretty terrible. While I show clips from different versions in class, my favorite is Peter Kosminsky’s 1992 adaption, which stars Juliette Binoche and Ralph Fiennes. There are weird things about it, no doubt, but I appreciate the efforts to translate the spirit of the work while also attending to the entirety of Brontë’s plotting. Why is it important to keep discussions of “Wuthering Heights” and other classic works alive today? Classic works such as Brontë’s novel matter more than ever because they force us to think deeply about the complexities of our shared humanity. Human existence cannot be reduced to convenient binaries. “Wuthering Heights,” for instance, asks us to question our tendency to conceive of people as either insiders or outsiders. Classic literary works, like all great art, challenge us to reflect on matters of sameness and difference, to develop empathy for others, and to better understand the ways that the past informs the present. (J.D. Valdepenas)
This contributor to Inkl has 'Just Found Out Wuthering Heights Is Not An Epic Romance, And I Am Shocked'. If you have clicked through and are reading this article right now, I assume you are in one of two camps. Perhaps you’ve actually read Wuthering Heights and think I’m a complete idiot for making it decades without reading or understanding the plot of Emily Bronttë’s seminal work. Or, perhaps you are a person who, like me, has not yet read the book ahead of its upcoming big screen adaptation, and weren’t so sure about the tone of Emerald Fennell’s 2026 movie release. If you are in the latter camp, I must warn you the movie is not an epic romance. Yes, I’m as shocked as you (maybe) are. I honestly only know this because I went to an all-hands meeting with the CinemaBlend team the other day and enthusiastically spoke about Jacob Elordi and Margot Robbie doing a romance together. It was awkward crickets in the room for a hot minute before my colleague finally told me I needed to reset my expectations about what’s coming in Wuthering Heights. Embarrassing? Positively. Was I grateful for the heads up? Only time will tell. To my credit, Valentine’s Day is usually a big weekend at the box office for some sort of romantic flick. This slot can lend itself to some darker romances like Fifty Shades of Grey, but a lot of February releases tend to be lighthearted, like How to Lose A Guy In 10 Days or Hitch. So, sorry I didn’t totally get the memo here with Wuthering Heights. I honestly probably should have seen this turn of events coming. I did see Saltburn, and it was one of the wildest movies tonally I’d ever gotten through. Given Fennell’s track record with that movie and Promising Young Woman, I suppose I should have expected some complications outside of Margot Robbie and Jacob Elordi staring adoringly into one another’s eyes. Listen: I know I’ve outed myself as ridiculously uninformed, here, but to defend myself once more: It’s not as if I thought this would be a rom-com in the vein of Emma. You can tell from the Wuthering Heights trailer there will absolutely be some drama. I know, for example, there are some familial complications, and that Heathcliff must leave to seek a fortune. From what I’ve seen, Margot Robbie’s character seems to be left with few choices in the marriage department. I guess I just assumed this would all wrap up with a neat little bow, or at least some Titanic-level romantic ending. That’s not true in the least, apparently, and we’ve either gotten some genius level marketing that will surprise audiences (I blame the use of Charli XCX’s pop track “Chains of Love”), or else I’m like the last person to know what Brontë’s novel is about. I honestly don’t want to spoil anyone or even look into how Wuthering Heights wraps, so I’m planning to go into the movie unspoiled, then read the book, now. Still, I do think it’s worth a warning that this will not be the feel good hit of 2026. Emerald Fennell clearly prefers her storytelling to be a little bit messed up, and that will continue with the release of Wuthering Heights next month. Though the casting director did even say "English lit fans" won't be happy. So, who really knows what's coming down the pipeline? Just don’t say I didn’t warn ya. (Jessica Rawden)
According to Rolling Stone, Wuthering Heights is one of several 'Cozy Books Getting Us Through the Storm' so they're in for a shock as well. To keep you on your toes, we’ve also included some hot-right-now book picks here, the likes of book 6 in the “Game Changers” series (behind the sensation that is Heated Rivalry) and Wuthering Heights: the latter about to be given a new, 21st-century lease on life by Margot Robbie and Jacob Elordi. Let the coziness commence. The Brontë Sisters Boxed Set: Jane Eyre, Wuthering Heights, The Tenant of Wildfell Hall, Villette Sure, Wuthering Heights is getting all the attention right now, what with its on-screen version coming to theaters a day before Valentine’s Day, but the novels of Emily Brontë’s sisters are equally era-defining. This box set from Penguin Classics has it all: from Jane Eyre, which will make someone named Mr. Rochester live in your head rent-free, to The Tenant of Wildfell Hall, a 1848 title that centers on a young widow who becomes the talk of the town courtesy of her hyper-independent and reclusive personality. The best part about this comfort-read buy: Once you devour Wuthering Heights in a few sittings, you can easily reach for another Brontë masterpiece, and then another. Maybe it’s just us, but we’d be tempted to call in sick to work — just for the sake of diving deeper into the psyches of female heroines who manage to reinvent themselves after tragic pasts. (Stacia Datskovska)
Hopefully they will buy it themselves, then read it and reexamine the coziness of Wuthering Heights and The Tenant of Wildfell Hall.
Harper's Bazaar lists 'The 28 Best Period Dramas That Will Transport You Back in Time' including Jane Eyre (2011) Mia Wasikowska and Michael Fassbender lead this moody and romantic adaptation of Charlotte Brontë’s most famous novel. After enduring a cruel and abusive childhood as an orphan, Jane Eyre (Mia Wasikowska) hopes to gain some independence by seeking employment as a governess at Thornfield Hall. There, Jane develops a unique and complex relationship with Thornfield’s owner, the brooding Mr. Rochester (Michael Fassbender). While the two come to realize their feelings for each other are more than just friendly, a disturbing mystery keeps them from taking their relationship further. (Chelsey Sanchez and Ella Ceron)
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