This review contains spoilers. Written and directed by the multi-award-winning Sally Wainwright, the woman behind hits such as Happy Valley and Last Tango In Halifax, the tale of the famous Brontë sisters is a compelling drama of ambition and addiction. The ambition comes from the sisters themselves, determined to make a success of their work despite a society that would seek to silence them. The addiction is Branwell’s alone; his destructive behaviour casts a long shadow over the Brontës’ works, particularly Anne’s The Tenant Of Wildfell Hall and more famously, Emily’s Wuthering Heights. He’s the destructive force of Wainwright’s retelling, acting as both inspiration and motivation as required. In order to provide the context for the Brontë family’s literary ambitions, Wainwright cleverly weaves in a few scenes from their childhood. The drama opens with the four siblings, seen as children with burning halos, storytelling with toy soldiers coming to life in their hands. The Brontës famously created their own fantasy world, Gondal, in which they set many tales, inspired by those aforementioned toy soldiers. Establishing this provides the narrative drive for the depiction of the three crucial years that would see Jane Eyre, Agnes Grey, and Wuthering Heights published and implies that it is inevitable that the Brontë sisters would find success. Their imaginations were simply too vibrant to stagnate in Haworth. Using Branwell as a contrast to his sisters allows Wainwright to demonstrate the differences between operating as a man in the mid-nineteenth century and as a woman. Early in the piece, Charlotte bemoans a woman’s lot in a similar speech to the one she would later give her most famous character, Jane Eyre. She comments on their lack of opportunity and their need to ‘walk invisible’ in order to achieve their ambitions. In contrast, Branwell is offered repeated chances to take advantage of his artistic talent, but he continues to squander them in favour of drink and an affair with an older woman of a higher social class. The location of Haworth and the surrounding moors in their grim and rain-soaked glory are key to this, creating an atmosphere of isolation as well as maintaining the sisters’ connection to the landscape that would feature heavily in their work. There are some beautiful visual flourishes in Wainwright’s direction, including a simple yet effective pan across the moors that moves from the browns and greens of autumn into the soft white covering of winter. She often frames the sisters in isolation within this environment, highlighting not only their uniqueness in the landscape, but also their connection with it. Emily especially is seen frequently wandering along paths through the moorlands that would become such a crucial element of her only novel.  For lovers of the Brontës’ work, To Walk Invisible is a gift, carefully constructed to capture the voices of the pioneering women at its heart and the spirit of their work. It is a fitting tribute to the passion for the worlds they created, as well as acknowledging the personal and social obstacles they had to overcome.