Wuthering Heights 4K 2026 Ultra HD 2160p

Catherine Earnshaw (Charlotte Melling) runs about among the rocks, getting the hem of her dress muddy, and watches her father’s drunken antics (Martin Clunes). Life in the northern wilderness at a dilapidated estate called “Wuthering Heights” becomes less monotonous when Mr. Earnshaw brings home a homeless boy (Owen Cooper) and takes him in as a servant. Kathy names her new friend Heathcliff and from then on refuses to be apart from him for even a moment. The friends will loudly settle their differences, explore the surroundings together, and grow increasingly attached to one another with each passing day. Years later, the state of “Wuthering Heights” becomes even more dire: Mr. Earnshaw repeatedly drinks away and gambles away all his money. Catherine (Margot Robbie) begins to take an interest in the new neighbors—Edgar Linton (Shazad Latif) beckons with wealth and security. But the girl’s heart belongs to the rugged Heathcliff (Jacob Elordi), who also refuses to part with his friend.

User Review

Once upon a time, there lived a little girl named Catherine in an old manor house. Her mother had died long ago, and her father (presumably after the deaths of her mother and brother) had turned to heavy drinking; to keep the girl from getting too bored and sad, he hired a companion (read: a servant) for her named Nellie. For a while, Katie and Nelly’s relationship was more like a childhood friendship, until, after a town festival, her father brought home another new addition—an unnamed gypsy boy, whom little Katie immediately named after her deceased brother: Heathcliff. Having been dismissed, Nelly harbored a grudge against Katie... recognize the plot? No? Well, actually, it doesn’t matter; the movie won’t be about that at all (or, well, not entirely about that) as the book story with the same names was.

I didn’t like the novel "Wuthering Heights" even when I was 15. Emily Brontë, as if ashamed of her feminine nature, tried to saturate a simple love story—written purely from a woman’s perspective—with male interests, male conversations about politics, and a male view of the world. Therefore, when studying the novel in college, we discussed in detail how, through the story of Heathcliff and Catherine, we were shown the impoverishment and, to some extent, even the disappearance of the titled class of landowners and the emergence of a new stratum—the wealthy bourgeoisie “without family or lineage,” whose embodiment, according to our university literature textbook, was Heathcliff. Although, as it seemed to me personally, the essence of the book was nothing more than a young girl’s naive dreams of a passion so strong that not even death could separate the lovers. Apparently, Emily, the pastor’s daughter, was troubled by the church’s “until death do us part”—she wanted the lovers to remain one even after death.

How amusing that, in Fennell’s interpretation, the embodiment of the rootless bourgeoisie is most likely Edgar Linton (Shazad Latif)—a distinctly Indian man who arrived at the abandoned estate from who knows where with a pile of junk earned who knows where (a clear allusion to the current situation in England and especially in London; those who have been to Great Britain surely appreciated the hint).

With Katie’s (Margot Robbie) move into Linton’s mansion, the camera begins to literally drown in light and color—bright red and white sets give way to gold and blue, deep blue and emerald, silver and white... most of the settings and objects we see in this part are completely anachronistic with the time period the film depicts and look like a high school girl’s wild fan fiction based on the book—but it seems Fennell warned that her "Wuthering Heights"
is a loose adaptation of her personal memories of how she experienced the novel as a teenager. And some details simply require a closer look—the doll made by Isabella, the school “friendship diary” she created, the rose-colored glasses on the face of the smiling Katie—until Heathcliff’s (Jacob Elordi), absolutely nothing in her new comfortable life bothers her—well, except that sex with her unloved husband seems a bit superfluous.

After Heathcliff’s return, a peculiar drama of codependency begins—the characters cannot be together, yet they cannot part ways either. Instead of quietly enjoying themselves behind Edgar’s back, they deliberately drive the whole story to a crisis point. It looks quite amusing and utterly irrational from the perspective of a mature, level-headed person—but how beautiful it looks! Elordi, trying to be vengeful and spiteful; the hysterical Robbie (to be fair, she’s playing her already tiresome Oscar-winning Tonya for the hundred-thousandth time—but she’s still wonderful); Isabella (Alison Oliver), dreaming of dirty sex. All of this swirls in an unbearably beautiful kaleidoscope, and you, sitting in your theater seat, think of only one thing—if only the movie wouldn’t end! And also—if only the plot wouldn’t veer off, like in the book, toward the main characters’ children!

Personally, I liked Emerald Fennell’s adaptation far more than the novel itself. And it’s not just about the outrageously beautiful actors in the lead roles—this adaptation cut away the superficial and superfluous elements that, in the novel itself, were more of an attempt by Miss Brontë to interest the male audience in her text—with discussions of duty, revenge, and, most importantly, politics. The result is a crystal-clear love story, untainted by anything extraneous—as it appears from a woman’s perspective. ‘I will follow you like a dog’; ‘nothing will separate us’; the frantic dash of the very handsome hero Elordi to his beloved’s deathbed through a very beautiful sunset and all that sort of thing.
And it doesn’t matter that Robbie looks five to seven years older than her on-screen lover, especially in those scenes where he has long hair and is unshaven, and after his visit to the barber and dentist, she starts to look like his hysterical mommy, despite all her beauty. The intensity of the erotic scenes (by the way, that’s a skill in itself—filming erotic scenes with clothes on so that they’re more arousing than the explicit nudity in other directors’ films) makes up for everything.

And then there’s the music and visual style, which are simply breathtaking.

Info Video

Codec: HEVC / H.265 (66.2 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10+
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

Info Audio

#English: Dolby TrueHD with Dolby Atmos 7.1
#English: Dolby Digital 5.1
#French: Dolby Digital 5.1
#German: Dolby TrueHD with Dolby Atmos 7.1
#German: Dolby Digital 5.1
#Italian: Dolby TrueHD with Dolby Atmos 7.1
#Italian: Dolby Digital 5.1
#Spanish (Latino): Dolby Digital 5.1

Info Subtitles

English SDH, Arabic, Bulgarian, Hong Kong (Traditional), Chinese (Simplified), Chinese (Traditional), Czech, Danish, Dutch, Estonian, Finnish, French (Metropolitan), German SDH, Greek, Italian SDH, Hebrew, Hungarian, Indonesian, Japanese, Korean, Latvian, Lithuanian, Norwegian, Polish, Portuguese (Brazilian), Portuguese (European), Romanian, Russian, Slovak, Slovenian, Spanish (Castilian), Spanish (Latin American), Swedish, Thai, Turkish, Ukrainian.