Get ready to dive into a bold reimagining of a timeless classic—because Hedda, Nia DaCosta’s electrifying adaptation of Henrik Ibsen’s Hedda Gabler, is here to shake things up. But here’s where it gets controversial: DaCosta doesn’t just transport Ibsen’s 1890s Norwegian tale to 1950s London—she flips the script entirely, turning Hedda’s secret love from a man into a woman. And this is the part most people miss: by making Hedda a mixed-race woman navigating societal constraints, DaCosta amplifies the character’s inner turmoil, highlighting the suffocating rejection of brilliance simply because of gender. It’s a move that’s as daring as it is thought-provoking.
In this amped-up version, Tessa Thompson steps into the shoes of Hedda, a woman on the brink of rebellion during one fateful night at a lavish party, where scandal, trysts, and jealousy collide. With a stellar cast including Nina Hoss, Imogen Poots, and Tom Bateman, the film has already made waves since its awards-qualifying run and Prime Video release in October. Thompson’s performance has earned her Best Actress nominations from the Golden Globes, Spirit Awards, and Gotham Film Awards—a testament to the power of DaCosta’s vision.
DaCosta, who wrote the script with Thompson in mind, became so immersed in the project that she affectionately dubbed the actress “Hedda Thompson” by the third week of production. “I hadn’t realized how tense Hedda made me,” DaCosta confessed to Deadline’s Baz Bamigboye, underscoring the emotional weight of the character.
Here’s the bold twist: By changing Hedda’s secret love to Eileen (played by Hoss), DaCosta challenges Ibsen’s original narrative, arguing, “If this character were a woman, you’d really understand the soul-crushing pain of being brilliant and ignored… of being told ‘No thank you’ simply because you’re a woman.” It’s a reinterpretation that sparks debate—is this a necessary modernization, or does it stray too far from Ibsen’s intent? We’ll let you decide.
DaCosta, whose diverse filmography spans superheroes (The Marvels), horror (Candyman), and indies (Little Woods), describes herself as “a big theater head” with a passion for adaptations. “I love a Shakespeare moment. I love Ibsen. I love these titans of classical theater,” she told Deadline. “Chekhov and I have a spotty relationship, but I do the ones I love. These works are meant to be torn apart and reassembled, to speak to our time, no matter the era.”
Whether you’re a fan of Ibsen’s original or eager to see its modern transformation, Hedda is a must-watch. But here’s the question we’re dying to ask: Does DaCosta’s reinterpretation honor the spirit of Ibsen’s work, or does it lose something in translation? Let us know in the comments—this is one conversation you won’t want to miss. Read the screenplay below and join the debate!
