‘Hedda’ Review: A Slick, Stylish Story That Oozes Magnetism, Opulence, And Wonderful Acting

Coming off her high-profile projects such as The Marvels and Candyman (2021), writer/director Nia DaCosta is now returning to her roots with the more intimate Hedda. While her adaptation of Henrik Ibsen’s Hedda Gabler play differs significantly from the original work, it’s an elegant, beautiful, and stunningly performed portrayal of powerful women, societal pressure, and ruthless behaviour.

Despite living a lavish life in a majestic country estate, Hedda Gabler (Tessa Thompson) and George Tesman (Tom Bateman) are, deep down, completely broke due to Hedda’s greed for even more wealth. That is, until George’s potential professorship and the substantial endowment that comes with it could tip the financial scales back in their favour. Right after hearing the news, the gun-loving Hedda makes it her dark mission to ensure that her husband can grab this once-in-a-lifetime opportunity with both hands. This involves organising an exuberant party, attended by Hedda’s eccentric friends and George’s more esteemed colleagues. It all goes unexpectedly well until Eileen Lovborg (Nina Hoss) and her companion, Thea Clifton (Imogen Poots), arrive. Besides being Hedda’s ex-lover, Eileen’s also the biggest competition for George’s professorship. Hedda has to raise the stakes to ensure her prosperity and luxurious lifestyle. The question remains, how far will she go?

While the dangerous and sumptuous elements of Ibsen’s work are clearly still present, DaCosta also gives her own spin to the story. While it’s a risky choice, it certainly pays off. The most significant adjustment is changing Ejlert Lövborg into Eileen Lovborg. Switching from male to female not only heightens intrigue but also creates an atypical on-screen relationship between Hedda and Eileen. What used to be the typical male ex-lover has become a chaos-causing female ex-girlfriend, as ferocious as Hedda. The scenes between Thompson and Hoss are certainly the beating heart of this movie, resulting in bonkers fireworks.

That’s not only because of Hoss’ (TÁR) stunning performance, but also because of Thompson (Passing) being at the top of her game. DaCosta’s script is rich in references to Hedda’s illustrious past as a fiery woman and passionate lover of so many. At the same time, it touches on many important topics, including race, power dynamics, gender discourse, and self-identity. Thompson clearly revels in this enigmatic character with many complex layers and emotions. She truly stands out with her sassy, over-the-top and magnificently compelling performance as the fierce, ferocious and headstrong Hedda.

Even when the script feels wobbly and uneven at times, she delivers once again – after starring in the director’s knockout debut, Little Woods – a top-notch performance. This blazing, high-energy film holds your attention from start to finish thanks to the many twists and turns and, above all, the extraordinary Thompson. While the rest of the cast, including a delicate Poots (The Chronology of Water) and emotionally loaded Bateman (Thirteen Lives), do their best to reach Thompson and Hoss at their heights, no one succeeds in that.

The gender change isn’t the only substantial shift. DaCosta also took the story out of the ’50s and set it in the late 20th century, while also adding another chapter. The latter modification shows Hedda’s dangerous psychological cat-and-mouse game from the beginning. The director opens with one of the film’s darkest twists. While this revelation might ease tension for some, the filmmaker provides just the right amount of information to keep the movie intriguing and captivating, despite the early reveal. You know that something sinister will happen, but what exactly do you know? The bombshell at the beginning feels more like a tease than a revelation, one that’s keeping you on your toes.

What heightens that story’s secretive, sinister, and dynamic aspect even more is the stunning production design by Cara Brower (Us). She makes the luxurious mansion shine even more, while the still-present passion between Hedda and Eileen, and the former dark secret and intentions, come across even more clearly. Equally extravagant and refined is Sean Bobbitt’s (Shame) cinematography. It might be a bit too dim at times – as DaCosta’s mainly uses candles and fire as the primary light sources – it does wonders for the thrilling script.

With a hint of Gothic fiction, a pinch of Virginia Woolf, and still plenty of Ibsen, DaCosta delivers a slick, stylish story that oozes magnetism, opulence, and wonderful acting.

Hedda is out now in selected cinemas, before hitting Prime Video on October 29.