Film Review – Hedda (2025)

      Hedda, 2025.

      Written and Directed by Nia DaCosta.

      Featuring Tessa Thompson, Nina Hoss, Imogen Poots, Nicholas Pinnock, Tom Bateman, Finbar Lynch, Mirren Mack, Jamael Westman, Saffron Hocking, Kathryn Hunter, Michelle Crane, Sam Hoare, Stacey Gough, and Mark Oosterveen.

      SYNOPSIS:

      Hedda Gabler is caught between the lingering pain of a past romance and the stifling reality of her current existence. Throughout a single, intense night, long-suppressed desires and concealed tensions surface, drawing her and those around her into a whirlwind of manipulation, passion, and treachery.

      Nia DaCosta’s Hedda, a reinterpretation of Henrik Ibsen’s play, leans more towards psychological depth than dramatic engagement. The film occasionally feels emotionally flat (despite notable performances imbued with complexity and tragedy from Tessa Thompson and Nina Hoss), yet it remains intriguing as Hedda Gabler spirals further into manipulation as she strives to secure a stable future for herself and her husband George Tesman (Tom Bateman).

      This role provides considerable depth for Tessa Thompson, who fully embraces the character, exhibiting monstrous behavior to achieve her goals, namely securing her husband a professorship. What adds richness is exploring the underlying reasons behind her actions, moving beyond the superficial premise of one woman seeking to ruin another (a former friend) to the extent of triggering her relapse into alcoholism.

      Aside from her friend Judge Roland (Nicholas Pinnock), Hedda is surrounded by a predominantly white social circle in the 1950s and is married into a white family. While she holds some wealth (albeit with financial uncertainties affecting George's professorial aspirations), this affluence renders her somewhat invisible, leading her to host parties in her manor that offer a form of attention, yet fail to place her in the spotlight.

      When Hedda discovers that party guest Thea (Imogen Poots) has invited former friend and disgraced author Eileen (Nina Hoss), a mix of emotions arises due to their complicated history intertwined with class, sexuality, and race. To her surprise, Eileen has also overcome her drinking problem, which had marred her reputation. Partnering with Thea, Eileen has completed a new manuscript on modern sexuality, projected to succeed, hinting that they may have shared a romantic past and that jealousy is brewing over this budding partnership. However, the most troubling news for Hedda is that Eileen is pursuing the same professorship position as George.

      Ultimately, Hedda's despicable actions stem from more than a singular motive. The dynamics between Hedda and George raise questions about their love for one another versus their marriage being one of convenience. Hedda stands at the crossroads of jealousy and love, pushing her towards madness. While her actions lack justification, the film illustrates the external pressures that have fueled her rage.

      There’s also a suggestion that she might have always had sociopathic tendencies, and the events of this prolonged night merely amplify her increasingly hostile and disturbing behavior. It's not entirely accurate to say there is sympathy for Hedda; however, her actions are presented as reactions to circumstances that may seem glamorous externally but reveal a different reality in her life.

      Yet, despite the stunning production design and beautiful costumes (including a scene where Hedda dresses Thea in various outfits, perhaps a bid for awards nominations), it takes an annoyingly long time for the film to shed some stiffness and engage emotionally. Even then, there exists a slight disconnect—not necessarily due to difficulty in sympathizing with Hedda (her amorality adds layers to her character), but due to the horror of Eileen's manipulation.

      Essentially, audiences find themselves as observers in these twisted psychological games, captivated and unsettled by Hedda, all while recognizing her abhorrent actions. This makes the film's dark descent refreshing.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★ ★

      Robert Kojder