The maximalist adaptation of the gothic romance shows great interest in production design but very little in characterIt does not take long into Wuthering Heights, Emerald Fennell’s adaptation of Emily Brontë’s English lit classic, for one to detect the film-maker’s true faith. It is not to the challenging and beloved gothic novel of emotional repression and inheritance; as with many other cinematic adaptations, Fennell dispenses with the unruly latter half of the book, along with most of its conventions. In Fennell’s emphatically maximalist vision – she has explained that the quotation marks in the film’s marketing are a note of humility, to her singular and limited interpretation – the tortuously connected Cathy (Margot Robbie) and Heathcliff (Jacob Elordi) swoon about the Yorkshire moors in extravagant, anachronistic formalwear, flagrantly unbound by period decorum.Over three features, the English writer-director has demonstrated a penchant for sticky visuals; arguably the most-disc...