Love, betrayal and a whole lot of fog. Those are only a few characteristics present in director Emerald Fennell’s romantic period drama “Wuthering Heights.” Adapted from English writer Emily Brontë’s only novel, the wildly reimagined story of Catherine Earnshaw and Heathcliff has become the talk of the town.
Yet, the film’s eponymous soundtrack, crafted by English pop star Charli XCX, not only evokes these elements but makes its own mark as a certified classic.
“Wuthering Heights” is not the first collaboration between Charli and Fennell. Charli’s 2017 song “Boys” was featured in the soundtrack to Fennell’s feature film debut “Promising Young Woman” in 2020.
In December 2024, amid her messy yet iconic “Brat” era, Charli received a text from an unknown number, which she later found out was Fennell reaching out to her to read the film’s script. In her Substack, Charli wrote she was intrigued by the opportunity to contribute to “Wuthering Heights.”
“I was immersing myself in a story that was not my own, a story that was steeped in history, a story that had existed since 1847 (tysm Emily Brontë),” Charli wrote in the Substack. “I began to feel a sense of freedom again.”
Charli attempts to create a soundscape aligned with Fennell’s selective adaptation of the novel. Fennel has clarified throughout the film’s press tour that her stylistic choices differ from the original; Charli’s soundtrack supports the film’s focus on creating a modernized, erotic interpretation.
“Wuthering Heights” opening track “House (featuring John Cale)” sets the stage for the haunting story ahead. Screeching violin underlays two minutes of gravelly narration by Cale, which builds to include backup vocals by Charli.
The song’s ending repeats, “I think I’m gonna die in this house,” a soundbite that went viral on TikTok with users editing their lives to look like horror movies. Though probably an unexpected outcome, the trend is proof that the album’s beginning is indeed eerie.
Though Fennell and her team seem intent on replacing the novel’s narrative of revenge with one entirely of soap-opera romance, Charli’s backtrack invents heightened tension for the audience.
Even when writing songs about Gothic England, Charli can’t help but include a club classic. “Dying for You” expertly taps into Charli’s upbeat, hyperpop style while continuing the album’s orchestral backings. Without straying too far from the soundtrack’s main themes, the song is undeniably made for late nights and strobe lights on the dance floor.
One thing about Charli is that she truly is everywhere; “Always Everywhere” takes that idea and spins it into a haunting yet romantic narrative. The tune of a high-pitched organ alongside the artist’s echo-forward sound teleports listeners to a world with bright greenery, flouncy white garments and grey skies.
Lyrics such as “I feel like home, still you pull away” and “I can’t escape the storm you gave me” complement the intense cellos and violins that fluctuate across the approximate three-minute track. The dramatics in this track are definitely Oscar-winning.
If you are looking for something that combines eeriness and theatrics, “Altars” is your best bet. Charli dives into the complex emotions that one can experience in a place of spiritual, emotional and personal comfort.
From kneeling at the altar with tears of hopelessness to using prayer as a search for an answer, the track is a rollercoaster of what the novel conveys. Charli’s classic autotuned vocals, a repeated ticking and an impressive orchestra tie the knot beautifully.
The transition to “Eyes of the World (featuring Sky Ferreira)” was seamless, transporting listeners to a more intimate and mysterious setting. Ferreira, a frequent collaborator and friend of Charli’s, is known for her powerful, grungy vocals.
The duo makes the perfect pair for a track that discusses the impacts of public perception on individuals, especially with events that have challenged both of their careers at one point. Notably, the lyrics “You’re gonna think the things you think about me anyway” should win an award for “Goosebump Worthy.”
The soundtrack’s ending is just as unsettling as its beginning. Actor and musician Joe Keery is credited as a co-writer on the final track, “Funny Mouth.” Siren-like instrumentals crescendo under Charli’s sensual vocals, culminating in an EDM-style breakdown halfway through the song.
After the break, the instrumental dissonance and reverb build before cutting out altogether. Subdued piano and angelic background vocals accompany Charli singing, “Everyone sleeps / And everyone wakes up,” fading to silence in the song’s final seconds.
If you expect “Wuthering Heights” to be “Brat” 2.0, you’ve come to the wrong place. We recommend Googling the difference between a regular album and a film soundtrack.
Charli was tasked with creating work that fits both a time-honored novel and a flawed film adaptation; “Wuthering Heights” straddles the two remarkably well. Despite the general perception of the film thus far, Charli’s album is absolutely worth a listen.
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Email: [email protected]
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