Sense and Sensibility review – blue-chip cast decorates Emma Thompson’s pleasurable Austen adaptation

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Thirty years later, this richly enjoyable film is back with its quality lineup including Kate Winslet and Hugh Grant alongside Thompson herself Emma Thompson won a screenplay Oscar for this buoyant, vibrant, richly enjoyable adaptation of Jane Austen’s novel. Released in 1995, it was directed by Ang Lee and is a movie with the pleasures of a golden age studio picture of the kind made by William Wyler. It was the second half of Thompson’s Oscar double – she won her first one in 1993 for acting in Howards End – and she is still the only person in Academy Award history to win for acting and writing. With marvellous lightness and gaiety, Thompson found a response to Austen’s comic register, expertly marrying it up to the romance, and 1995 now looks like the golden age of Austen adaptation, having also seen the Colin Firth/Jennifer Ehle Pride and Prejudice on television and Amy Heckerling’s Emma-homage Clueless at the movies. Thompson paid due attention to Austen’s unique and toughly real...
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The Love That Remains review – startling tragicomic portrait of a fractured family

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Cannes film festival
Icelandic director Hlynur Pálmason examines a broken marriage through stunning imagery and quirky fantasy visions, but his new comic tone undermines the pain

Icelandic film-maker Hlynur Pálmason gave us the haunting historical drama Godland and the challenging and bizarre thriller A White, White Day; now he has changed things up with this startling, amusing, vaguely frustrating movie. The Love That Remains is a portrait of a fractured family and a sundered marriage which, with its dreamy piano score, fantasy visions and quirky sequences to go with the dead-serious scenes of purported emotional pain, introduces a slightly disconcerting but certainly intriguing new comic tone.

Pálmason’s visual and compositional sense is as commanding as ever, with some stunning imagery of the Icelandic landscape. But it is flavoured with a new tone of persistent, playful unseriousness, which finally morphs into a tragicomic spectacle of male loneliness. In some places this film doesn’t have the weight and the impact of his earlier work, but it’s certainly engaging.

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