Hedda
Henrik Ibsen’s Hedda Gabler gets a slick and surprisingly tense makeover in Nia DaCosta’s Hedda — her warm-up before 28 Years Later: The Bone Temple. It’s set in a lush, smoky 1950s world where everything looks beautiful and feels quietly suffocating. The whole thing unfolds over one long night, giving it a slow-burn, pressure-cooker vibe that really works.
Tessa Thompson is fantastic — poised, unpredictable, and just on the edge of coming undone. DaCosta switches up one major character’s gender, adding a bisexual thread that makes Hedda’s motives messier and more human.
A few of DaCosta’s choices go a bit overboard, but the film’s too striking to dismiss. Stylish, moody, and full of bite, Hedda shows you can bring Ibsen into the modern age without losing his edge — and that ending leaves just enough room to argue about what it all means.
Tessa Thompson is fantastic — poised, unpredictable, and just on the edge of coming undone. DaCosta switches up one major character’s gender, adding a bisexual thread that makes Hedda’s motives messier and more human.
A few of DaCosta’s choices go a bit overboard, but the film’s too striking to dismiss. Stylish, moody, and full of bite, Hedda shows you can bring Ibsen into the modern age without losing his edge — and that ending leaves just enough room to argue about what it all means.
Mini Review: Nia DaCosta’s Hedda reimagines Ibsen in a lush, smoky 1950s setting — one night of desire, control, and slow-burn chaos. Tessa Thompson is magnetic as a woman unravelling in style, while a gender-swapped role adds a sharp bisexual edge. Gorgeous, moody, and quietly explosive, it’s Ibsen with lipstick and bite.
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