This thesis offers an analysis of Sally Potter’s cinematic adaptation of Virginia Woolf’s novel Orlando, with a particular focus on the depiction and exploration of postfeminist themes within the film. Since there is not a unilaterally accepted definition of postfeminism, this thesis tries to account for all the different classifications associated with the term. The initial section provides a brief historical overview of postfeminism, showcasing the emergence of the term, as well as the societal structures associated with it. Also, it discusses the relationship between postfeminism and third wave feminism as both movements succeed (or even appear as a reaction to) second wave feminism, and thus provide a great insight into why and how certain ideas emerged. Furthermore, it investigates the intersection of postfeminism with film theory, drawing upon Laura Mulvey’s seminal work, “Visual Pleasure and Narrative Cinema,” to explain postfeminist perspectives on the representation of women in cinema. The subsequent section examines heritage cinema and period drama. These two terms serve as an introduction into the film’s genre, and they provide the historical and societal context in which Orlando was made. In the third part, this thesis brings forward a discussion about Orlando. It addresses the differences between Sally Potter’s and Virginia Woolf’s Orlando, discussing the outcomes these alterations have, especially as they relate to the notion of androgyny in the film, as well as the portrayal of imperialism. Finally, it brings the discussion back to the present time, comparing the postfeminist ideas of the 1990s and 2000s with feminist viewpoints of today, rendering Orlando’s story relevant and timeless through its engagement with gender, identity, and societal constructs.