"I hope the Wuthering Heights trailers never stop dropping. I hope they keep dropping even after the movie comes out in February. They should cut new ones through all of 2026 and into the following year, ahead of what I can only imagine will be the inevitable release of 2027's 2 Wuthering 2 Furious. And I hope we never stop arguing about them."
"The latest Wuthering Heights trailer appears to be a slight corrective to (or maybe, more accurately, an expansion of) the previous one, which emphasized the symbolic, sensuous, slimy, psychosexual elements of Fennell's adaptation of Emily Brontë's novel. That was the one with all the extreme close-ups of kneading dough and gooey eggs and fingers in fish and people crawling on the floor with their tongues hanging out."
"The new one takes a step back to remind us that this will, indeed, be a literate and swooning adaptation of "the greatest love story of all time" [ maybe sic,more on that in a bit] and it's heavier on the big dresses and the grasping hands and ornate interiors. But it's no less stylized; Emerald Fennell learned at the feet of Joe Wright, and we should never forget that."
Wuthering Heights trailers combine provocative, psychosexual imagery with ornate period romanticism, generating controversy and sustained debate. Emerald Fennell's adaptation alternates symbolic close-ups—kneading dough, gooey eggs, fingers in fish, crawling bodies—with grand, literate romantic visuals: big dresses, grasping hands, ornate interiors, framed weddings, bounteous dinner tables, windswept vistas, and rumbling skies. Cinematography and stylization show Joe Wright influence, balancing sensory shock with swooning love-story framing. Marketing targets different audience segments through varied trailer tones. Surreal, erotic moments (Margot Robbie as a doll, Jacob Elordi against a red sunset, the 'big pink flesh wall') intensify polarized reactions.
Read at Vulture
Unable to calculate read time
Collection
[
|
...
]