Sense and Sensibility Adaptation Mirrors Gen Z's Housing

A new Sense and Sensibility adaptation highlights the enduring link between economic insecurity and romantic choices for Gen Z. Following the death of their father, sisters Elinor, Marianne, and Margaret Dashwood find themselves without the means to stay in their beloved family home. Their elder half-brother, John Dashwood, inherits Norland Park in Sussex. Despite the lacklustre assistance offered by John, the meddling of his wife Fanny forces the siblings, along with their mother, to move to a cottage in rural Devon with a meagre allowance.

Austen’s themes reborn for today

The screenplay makes astute observations about sisterhood, money, and the perils of dating that will surely chime with Gen Z viewers. The adaptation emphasizes financial strain and modern dating anxieties, resonating with experiences of economic precarity. The Women’s Budget Group states that "housing insecurity disproportionately affects women due to greater reliance on private renting, unaffordable housing and difficulty keeping up with housing costs." Only a small portion of Gen Z are homeowners due to the housing crisis and the rise of 'generation rent'.

YouGov reports that "over a third of women in a couple are financially dependent on their partner." The film reflects Gen Z’s worries about modern dating. The Kinsey Institute reports that more than half of young single people are interested in finding a partner to share expenses due to the bad state of the economy. Oakley’s adaptation provokes audiences to question how much has changed between 1811 and today regarding women’s struggle for independence.

Margaret’s quiet presence and symbolic details

The adaptation gives more screen time to the third sister, Margaret, played by Bodhi Rae Breathnach. In one scene, Margaret breathes on a window and traces an 'M' on the glass. She and young Henry, John’s son, fight over her dollhouse in the playroom. The dollhouse is left behind in the move to Devon. At Barton Cottage, Margaret only has a small replica of her dollhouse on the windowsill.

Love, class, and the limits of expression

Inside homes, characters are limited in what they can say; in nature, couples can express true feelings without fear or impropriety. All of Austen’s successful proposals happen outside. Marianne despairs of 'second attachments.' Gen Z discourse over 'body counts' circulates online. Austen presents both dangers and safety that marriage posed for women. 'Pinkpill' influencers promote hypergamy and tradwife lifestyles. In some discourses, 'having a boyfriend is embarrassing' and 'getting the ick' seems unavoidable. Gen Z’s tendency to view things in black and white may rob the audience of Austen’s nuances.

A modern, grounded retelling

Director Georgia Oakley delivers an intimate, naturalistic portrayal. The adaptation portrays Barton Cottage as small, dark, and dingy. Mrs Dashwood learns to cook, while Elinor gardens and does laundry. The characters have strong Devonshire accents. This is a decidedly more grounded, introspective affair. The Dashwood sisters are often seen with their hair down and dishevelled, their garments loose and comfortable.

Cinematographer Arnaud Potier drinks in the verdant English countryside and rugged Devon coastline. In contrast, the low candlelight and careful manners of London society dinners feel staged and claustrophobic. Strong performances across the board help get the message across. Yet this is Austen, and so the women are very firmly at the fore. Fiona Shaw comes dangerously close to stealing the show as bawdy distant cousin Mrs Jennings.

Francesca Di Mottola’s balanced, textured production design and Grace Snell’s muted, earthy costuming evoke the period aesthetic while allowing space for the naturalistic performances. While society has left the older girls with no financial options other than to find a wealthy husband, each is forging their own romantic path. Elinor has fallen for Fanny’s kind brother Edward, a match fraught with hurdles. The free-spirited Marianne has caught the eye of the older, taciturn Colonel Brandon, but she is besotted with Devonshire creative Willoughby. The adaptation began its international roll-out from September 23.