Every Emerald Fennell Movie Ranked Worst To Best

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Emerald Fennell is quickly becoming a prominent and talked-about filmmaker, despite only directing a few films. Each of her movies, including her latest, sparks strong opinions – it feels like everyone has a take on her work. While she aims to provoke discussion, her films often prioritize style over deeper meaning. One thing is certain: you’ll definitely have a reaction to anything she directs.

I’ve been following Emerald Fennell’s work as a director, and it’s been fascinating to see her take on increasingly ambitious projects – from a small, acclaimed Sundance film with a $10 million budget, to a big, stylish thriller set in the 2000s, and even a classic novel adaptation. But I’ve been wondering which of these films is actually her best. So, I decided to rank all three, from what I think is the weakest to the strongest.

3. Saltburn

While she initially gained recognition with an Oscar-winning film, it was Saltburn that truly made her a household name. Though the movie didn’t achieve major awards success or perform exceptionally well in theaters, its late-2023 release on Prime Video turned it into a viral sensation. The song featured in the film’s ending, “Murder on the Dancefloor,” became incredibly popular online, and even those who didn’t see Saltburn likely heard about its memorable bathtub scene.

Of all Emerald Fennell’s films, this one just didn’t grab me as much. It starts with a really interesting premise – a working-class student spending the summer with his rich friend at a fancy country house – and hints at a lot of potential. But honestly, it felt like none of those ideas were fully developed. It tries to say something about class, but it’s kind of confusing. And as a story about someone grappling with who they are and becoming obsessed with another person, it just doesn’t measure up to a classic like The Talented Mr. Ripley. Mostly, the movie seemed to revel in being visually extravagant and shocking, and it felt stretched out for too long.

Visually, the film is stunning, continuing the strong visual style that defines Fennell’s work. She has a knack for casting actors who deliver truly memorable performances, and that’s a major strength of Saltburn. Barry Keoghan and Rosamund Pike are both excellent, but Jacob Elordi is particularly captivating as the center of everyone’s attention. While the actors have some great scenes together, this film doesn’t quite reach the same level as Fennell’s other work; it feels like the individual parts are stronger than the overall result.

2. Promising Young Woman

Emerald Fennell’s first time directing was a striking success. Her 2020 thriller, Promising Young Woman, about a woman seeking revenge for a friend’s college rape and suicide, received widespread critical acclaim and numerous awards, including an Academy Award for Fennell’s original screenplay. This firmly established her as a fresh and noteworthy talent in Hollywood. The film’s boldness is undeniable, though its effectiveness is open to interpretation.

What really struck me about Promising Young Woman is how brilliantly it’s cast. The film is packed with actors who play these guys who think they’re ‘good guys’ while simultaneously taking advantage of women. It’s a really clever move, because the director, Emerald Fennell, is forcing us to confront the fact that these charming, familiar faces can actually be the problem. She’s challenging what we think a predator looks like, and using the actors’ established images to make us question our own biases – how easily we dismiss victims. And she does it all with this darkly funny, biting humor that’s become her trademark. It’s a really powerful combination.

The film showcases a strong visual style, particularly when depicting its theme of vengeance, and Carey Mulligan delivers a fantastic performance. However, the movie’s message isn’t always clear. Some of its choices – like the protagonist focusing more on punishing women than men, and the divisive ending – create complications and raise questions about the film’s central idea. Unlike Saltburn, though, it doesn’t feel empty; its complexities actually make it a more thought-provoking film.

1. ​​​​​​​Wuthering Heights

Fennell’s latest and most ambitious film, Wuthering Heights, is proving quite controversial. Critics are sharply split, and those comparing it to the original novel have been particularly critical—even our own Gregory Nussen. Since I haven’t read the book, I can’t comment on how well it adapts the story, but as a film on its own, I believe it’s Fennell’s strongest work yet.

This is her most polished and technically impressive work yet. The film, titled Wuthering Heights, feels dreamlike and imaginative, as if unfolding within someone’s mind. The costumes and set design are playfully unconventional and don’t strictly adhere to the historical period. The filmmakers use color dramatically, with deep reds emphasizing intense emotions. Surprisingly, the soundtrack for this 18th-century romance is created by contemporary pop artist Charli XCX. Seeing Margot Robbie, at 35, play the teenage Cathy feels like watching a reader step into the story and become the main character.

The film is at its best during the first two-thirds, when it’s funniest. Right from the start, the movie playfully subverts what we expect, beginning with a surprising reveal disguised as something else entirely. Clever editing helps create this effect, but it’s Alison Oliver’s performance as Isabella that truly shines and captivates the audience in every scene.

The final part of Wuthering Heights, aiming for a sweeping, romantic tragedy, unfortunately slows the film down and doesn’t quite work. A lot of the criticism seems to focus on what the film isn’t rather than what it is. While director Emerald Fennell has faced similar critiques before for tackling big issues without fully exploring them, Wuthering Heights feels different. It’s so focused on creating a particular feeling that it’s hard to fault it for lacking deep themes. If Fennell continues to prioritize this immersive, sensory approach in her future films, rather than returning to the more intellectual style of Promising Young Woman, her filmmaking could really flourish.

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2026-02-17 21:49