In Hedda’s Take on Ibsen, Style Gets in the Way of Substance

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Some plays, whether you enjoy them or not, are valuable because they offer a familiar base for creativity, much like standard songs do for singers and jazz musicians. A well-known play provides a starting point for new and imaginative interpretations. Two plays by the late 19th-century Norwegian playwright Henrik Ibsen are particularly popular for revisiting: A Doll’s House and Hedda Gabler. Both feature strong, independent women who make bold choices without seeking men’s approval. Nora, from A Doll’s House, famously abandons her husband and children to live life on her own terms. Hedda Gabler, the title character, is a restless, unhappy aristocrat who manipulates others as a way to feel in control of her own destiny. These women are fed up, and their stories continue to resonate with audiences time and again because their anger remains timeless.

Nia DaCosta’s new film, Hedda, is a visually striking, though occasionally uneven, take on the classic story of Hedda Gabler. Tessa Thompson delivers a powerful performance as Hedda, a strong-willed woman married to the gentle academic George Tesman (Tom Bateman), who is vying for a key university role. His main competition comes from Eileen Lovborg (Nina Hoss), a brilliant writer and Hedda’s former lover. The story unfolds in a beautiful English country house in the 1950s, during a party where Eileen and her partner, Thea Clifton (Imogen Poots), are guests. However, the night takes a tragic turn. Adding to the tension is Judge Roland Brack (Nicholas Pinnock), who tries to manipulate and seduce Hedda. The film opens with Hedda dramatically shooting at him with a pistol from the roof of her estate – a moment that perfectly captures her captivating and dangerous allure.

If you haven’t read or seen the play before, you might find this adaptation of Hedda confusing, or even dull. Director Nia DaCosta is known for both horror (Candyman) and big-budget superhero films (The Marvels), and it’s clear she and star Tessa Thompson are enjoying the freedom to experiment with this project. The chemistry between Thompson as Hedda and Hoss as Eileen is palpable and charged with attraction. However, it’s sometimes unclear what motivates Hedda’s actions, which is arguably intentional, as the character is meant to be enigmatic. Unfortunately, Thompson’s performance feels overly stylized, making it difficult to connect with Hedda’s inner thoughts. Her speech is precise and affected, bordering on artificial. Thompson is a talented actress, as demonstrated in her powerful performance in the 2021 film Passing, but here, the stylistic choices overshadow the character. The exaggerated makeup and costume—particularly Hoss’ bizarre, mermaid-like dress—feel contrived and distract from the story, even if they ultimately serve a plot purpose.

I’ve been fascinated by DaCosta’s interviews where she discusses the freedom of letting Black women be complex, even flawed, characters – not just the ‘good’ ones. And that’s precisely what makes her such a brilliant choice to direct an adaptation of Ibsen! You want someone who’ll bring a fresh perspective to a story that’s been told so many times. However, a good idea doesn’t automatically make a great film, and while this adaptation is visually stunning – Hedda’s house is incredibly beautiful, both inviting and suffocating, and you really feel that as a viewer – the movie itself feels a bit too focused on being different. Hedda Gabler is a mysterious character, and I think the film tries too hard to be clever around that, instead of letting her strength and even cruelty speak for themselves. We need to be able to feel her power, not just see a stylish presentation of it.

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2025-10-23 01:06