But I’m here to tell you that the modern reading of Austen’s classic story about loss, longing and second chances at love is actually very enjoyable.

Directed by Carrie Cracknell, from a screenplay by Ron Bass (My Best Friend’s Wedding) and Alice Victoria Winslow (Hot Spot), the new adaptation has undeniably chosen to cast the heroine of Austen’s celebrated final novel in a bold way.

From the outset, we find Anne Elliot attempting to get over the heartache of being persuaded not to marry the then penniless but dashing Frederick Wentworth (Cosmo Jarvis) seven years prior by leaning into the flawed, messy, imperfect reality of being a woman. She is, in her own words, “single and thriving” – if glugging wine, crying in the bath, cuddling a pet rabbit and lying face down on your bed can indeed be considered living your best life.

Yes, Anne is not the demure, dignified protagonist that Austen fans would recognise from the novel. And as the film heats up and the estranged lovers are reacquainted, the anachronistic reading only intensifies. When Wentworth makes his first appearance, Anne is deep into an impersonation with jam on her face and a basket on her head. She repeatedly embarrasses herself, trips over, makes uncomfortable dinner party chat and snipes about her self-absorbed family. There are dramatic tantrums, flirtatious winks, wry quips and throughout it all, Johnson is truly compelling.

Netflix’s Persuasion: “Despite the criticism, I loved the new adaptation – and I think you will do too”