Nia DaCosta's bold adaptation of Henrik Ibsen's Hedda Gabler premiered at the Toronto International Film Festival, drawing mixed reactions for its stylish but over-egged approach. The film transposes the action from 19th-century Oslo to 1950s Britain, where former bohemian Hedda (Tessa Thompson) has moved into a sprawling estate with her new husband, the academic George (Tom Bateman). DaCosta, known for her Candyman sequel, delivers a visually striking but narratively reckless film that prioritises subterfuge and sexual intrigue.
The plot centres on a party thrown by Hedda and George to secure his teaching position, but the event is overshadowed by the arrival of Eileen Lovborg (Nina Hoss), an academic rival and former lover of Hedda's. DaCosta turns Hedda into a remorseless sociopath, stripping away the complexity of Ibsen's iconic character. While the film hints at themes of closeted sexuality and racial tension—Hedda is Black in a largely white world—these threads are underdeveloped, leaving her motivations unconvincing.
Tessa Thompson delivers a venomous performance, but her portrayal is too grandly villainous, lacking nuance. In contrast, Nina Hoss steals the film as Eileen, offering a compelling depiction of feminist outrage and patriarchal damage. DaCosta shifts focus onto Hoss's character, making Hedda seem all the more psychotically vicious. The film's attempt to suggest manic depression as an explanation for Hedda's behaviour requires too much effort from the audience.
Overall, Hedda is a stylish but ill-advised romp that mistakes arch style for profundity. It lands some intended jolts but fails to do justice to Ibsen's masterpiece, leaving viewers with a muddled and over-the-top adaptation.
