Halfway through 2026, book-to-screen adaptations have been thriving. The biggest success has undoubtedly been Christopher Miller and Phil Lord‘s blockbuster Project Hail Mary, which took off like a rocket ship in March with $683.3 million worldwide and near-universal praise, but the hits have come hard and fast this year in theaters and on streaming. Remarkably Bright Creatures, People We Meet on Vacation, and Sheep Detectives are among the feature-length book-to-screen hits that have captured audiences, while, on the small screen, shows like Off Campus, Margo’s Got Money Troubles, and A Knight of the Seven Kingdoms have made the biggest splash. The heaviest hitters are yet to come, too, like Christopher Nolan‘s The Odyssey and Denis Villeneuve‘s Dune: Part Three.
Not to be forgotten in the shuffle is the monolithic Jane Austen. In a year so full of literary adaptations, the legendary English novelist is getting her fair share of attention too, starting with The Other Bennett Sister, a series based on Janice Hadlow‘s Pride and Prejudice continuation. The original novel by Austen is also set to get the series treatment at Netflix later this year, with Emma Corrin as Elizabeth Bennett. Before that, though, the Dashwood sisters will return to theaters in a new adaptation of the author’s debut work, Sense and Sensibility. Focus Features has just released the official trailer, bringing the classic story to life with fresh faces, led by Daisy Edgar-Jones and Esmé Creed-Miles.
Directed by Blue Jean helmer Georgia Oakley, Sense and Sensibility follows in the footsteps of the famed 1995 adaptation by Ang Lee, which starred Emma Thompson and Kate Winslet as Elinor and Marianne Dashwood alongside Hugh Grant and Alan Rickman as their dashing love interests, Edward Ferrars and Colonel Brandon. Compared to its predecessor, however, there’s a renewed focus on the sisters’ place in society, their mixed feelings, and their bond as they’re thrust into lives of love and heartbreak. It follows the familiar story of the Dashwood family, who, after the death of the patriarch, lose their lavish Sussex estate and are forced to join a relative at a modest cottage in Devon. There, the two very different sisters go on separate romantic journeys under the expectations of 18th-century England, with the sensitive Marianne (Creed-Miles) eager to find the love of her life and the sensible Elinor (Edgar-Jones) wary about who she gives up her heart to. While their paths are different, they’re united in sisterhood through every hardship and triumph.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
‘Sense and Sensibility’ Returns With a Breathtaking New Cast
The Austen adaptation isn’t the first time Edgar-Jones and Creed-Miles have worked together. Before becoming the Dashwood sisters, the duo previously shared the screen in the 2018 drama Pond Life, following a group of friends on a life-changing fishing trip. Oakley told Vogue that their previous experience with each other was a boon to their chemistry and ultimately helped sell them as siblings when they first began reading together. They’re joined by a talented supporting cast, too, including Outlander star Caitríona Balfe as Mrs. Dashwood, alongside Frank Dillane, Herbert Nordrum, and George MacKay as the sisters’ suitors, John Willoughby, Colonel Brandon, and Edward Ferrars, and Bodhi Rae Breathnach as the youngest Dashwood, Margaret. For Oakley, the adaptation marks just her second feature, and it saw her work with a script adapted by novelist Diana Reid.
Sense and Sensibility premieres in theaters on September 25 in the U.K., and October 16 in the U.S. Check out the trailer in the player above.
