The mother of all toxic relationships

If one of the factors that allows us to gauge the value of an artistic text is its ability to establish a personal and unique dialogue with everyone around it, there is no doubt that Wuthering Heights It is a masterpiece. Further proof is that this novel by Emily Brontë has inspired such diverse film adaptations as those by Luis Buñuel during his Mexican period, Jacques Rivette, and Yoshishige Yoshida, who took the British joke to feudal Japan.

Fifteen years after Andrea Arnold, Emerald Fennell becomes the second English filmmaker to adapt this pillar of literary Romanticism, although the term adaptation Perhaps this is not the most appropriate course of action. Wuthering Heightswhich could be put in quotation marks. It seems Fennell isn't so much interested in staging the most iconic moments of the destructive passion between Catherine and Heathcliff as in imagining previously unseen passages in which the characters consummate desires that Brontë chose to explore in a platonic way.

The director ofA promising young woman and Saltburn Here, it reaffirms its intermittently effective strategy of accumulating dazzling shots, but it's surprising that despite igniting the libidos of Margot Robbie and Jacob Elordi, and indulging in sadomasochistic imagery, it ultimately delivers a film that not only observes from a safe distance the abysses of physical and emotional violence of its protagonists, but also the abominable nature of the violence. Amidst all this chaos, Charli XCX's compositional work stands out, as she has found in this project a way to explore registers and sounds far removed from the green phosphorescence of brat.