Stories from the set

The film's shooting period was from January to April 2025.

Margot Robbie filmed the movie three months after giving birth.

For the decoration of Catherine's bedroom, played by Margot Robbie, the film's production designer Suzie Davies used an enlarged image of the actress's skin. She 'played' with photographs, emphasized veins, and experimented with saturated colors and filters.

Catherine's swing on the estate was modeled after the swing in a 1767 painting by the Impressionist artist and engraver Jean-Honoré Fragonard (1732-1806).

The entire estate was a set in the studio, but the window panes and the roses in the garden were real, not fake.

The goldfish swimming in transparent urns were lent to the filmmakers for just one day. After that, they were replaced with mechanical "doubles."

The film's screenplay differs from the plot of Emily Brontë's 1847 novel (she is credited as a screenwriter). According to director and screenwriter Emerald Fennell, she reworked the script in accordance with her own memories of the impressions from the novel, which she read as a teenager. She wanted to show viewers her own interpretation, rather than an exact repetition of the source novel in every detail.

The red latex dress worn by Margot Robbie's character was in fact not made of latex. A modern shiny synthetic material was used in its tailoring, matching in color the red floors of the estate.

The models for the hand sculptures (used as wall candelabras) were the hands of members of the film's creative team, specifically members of the props department.

A real war broke out between various studios over the rights to make the film. Netflix offered the most money (it is claimed the sum was $150 million). In the end, director and screenwriter Emerald Fennell and lead actress Margot Robbie chose the film company Warner Bros. It was willing to pay only $80 million, but promised a simultaneous theatrical release.