Rosaline (2022) – A New Spin on Shakespeare’s Old Love Story

Before Juliet stole the spotlight, Rosaline had a story to tell

Rosaline (2022), directed by Karen Maine, is a witty romantic comedy that flips the lens on Romeo and Juliet by focusing on the girl Romeo loved before Juliet. Adapted from Rebecca Serle’s novel When You Were Mine, this playful reimagining gives Rosaline—often forgotten in Shakespeare’s tragedy—a voice, a heart, and a chance to write her own love story.

Kaitlyn Dever stars as Rosaline Capulet, sharp-tongued, intelligent, and not remotely content with the idea of fading into the background. When Romeo (Kyle Allen), her swooning would-be poet of a boyfriend, suddenly falls head over heels for her cousin Juliet (Isabela Merced), Rosaline is blindsided—and absolutely not ready to let that slide. What follows is a hilarious and surprisingly heartfelt quest to sabotage their legendary romance and win Romeo back.

But Rosaline isn’t a tale of petty revenge. Beneath the sarcasm and schemes lies a deeper arc of self-discovery. As Rosaline tries to outmaneuver destiny, she starts to realize that maybe the problem isn’t Juliet—or even Romeo. Maybe it’s that she deserves more than being someone’s stepping stone to tragedy. Her journey is about choosing herself, rewriting expectations, and learning that sometimes heartbreak is the beginning, not the end.

The film thrives on its irreverent, modern tone. Though set in a Renaissance-inspired world, the dialogue is peppered with contemporary sass, reminiscent of 10 Things I Hate About You or Clueless. Kaitlyn Dever brings warmth and comic timing, grounding Rosaline in vulnerability even when she’s plotting. Supporting characters—from Dario (Sean Teale), a charming soldier with hidden depth, to Juliet’s unexpectedly savvy nature—add layers to what could’ve been a one-note spoof.

Visually, Rosaline embraces pastel-drenched costumes and fairy tale architecture, but its heart is rebellious. It pokes gentle fun at Shakespeare’s tropes while celebrating them, crafting a romantic comedy that’s not just clever—it’s empowering. In the end, Rosaline doesn’t want to die for love. She wants to live in it—and define it on her own terms.