The one with Armie Hammer? I only watched the first part, which was so wrong-headed it suggested whoever wrote the screenplay hadn’t understood the novel at all, so I never got to that part. I think all film adaptations I’ve seen have softened the depiction of Maxim cold-bloodedly shooting his pregnant wife, though, so we don’t then wonder why his sweet nonentity second wife helps cover it up.
The novel does suggest Rebecca, knowing she was dying, may have taunted Maxim to make him kill her, which again has the effect of absolving Maxim of responsibility and making a conveniently dead woman seem all-powerful and her murderer just another victim.
Though of course, we only have his word for any of this, or his claim that Rebecca was evil. The other two people who knew Rebecca well, Favell and Mrs Danvers, adored her and thought she was a free spirit who laughed at rules. The locals loved her. The only other living people who have negative memories of Rebecca are Ben, who has Down syndrome and an intellectual disability, and (kind of) Frank the estate manager, who seems to have resisted her seduction attempts and guesses the truth about the marriage and the murder.
Re the ending, I can absolutely see why living in a series of little continental hotels, listening to cricket and poring over the English papers, works dramatically as a kind of punishment/limbo, and is signalling the death of the English aristocratic/feudal way of life. It’s more that, in a novel that while it is part fairytale/Gothic novel, is also a realist country house novel, full of realist detail about servants, food, decor, estate management, there seems no particular reason why they can’t live in England, or at least make a permanent home in France or Italy, and have children to inherit.