Hedda Gabler, the classic Norwegian play, has been adapted countless times ever since its premiere back in 1891. Director and writer Nia DaCosta takes a stab at the material, and with Hedda we have an exciting new adaptation for modern audiences. Sexy, sly and scandalous, DaCosta knows how to utilise her entire arsenal to tell a story that is thrillingly entertaining yet thoughtful.

Moving away from its Norwegian roots, Hedda takes the title character and places her in 1950s England. Not stopping there, the production is full of non-white characters and has queer relationships at the centre of the narrative. These aren't changes for changes sake, but elements that add interesting new themes and contexts to the century old text. Whilst the original themes of female autonomy is (shockingly) relevant today, the modern touches add new relevance.

Hedda (Tessa Thompson), recently married to academic George Tesman (Tom Bateman), hosts a party at their grand estate. She's a boisterous type who, on the surface, yearns for luxury and entertainment. Hedda is tired of married life, but the evening takes a turn when ex-lover Eileen Lovborg (Nina Hoss) enters the scene. The twisting plot sees George and Eileen compete as academics and as close figures to Hedda, with other powerful players sucked into Hedda's destructive orbit as the evening goes on.

This is a delicious narrative, full of cracking, barbed dialogue. But what stands out is DaCosta's playful direction. Through previous works, she's proven to be an adept director that utilises the camera and other visual elements to entertain, and she pushes that further here. The costumes and production design are ravishing, leaning into the opulence of the setting and attracting the lustful gaze of other characters. The editing and kinetic camera work give the story a forward momentum, as well as keep the visuals engaging. A particular shot utilises the Spike Lee double dolly shot in spectacular fashion that isn't just flashy but holds narrative weight.

DaCosta isn't the only star on top form here. This might just be Thompson's best role to date. As Hedda, you never know what her next move will be. Thompson's line delivery effortlessly flits between venomous and flirtatious, but it's her eyes that speak volumes about the internalised desire and sadness. Hoss also deserves praise for her magnetic performance as the intelligent and intimidating Eileen. The WLW (Women who love women) relationships—Hedda and Eileen as former lovers, Eileen and Thea (Imogen Poots) currently in a relationship—feed into Hedda's observation of women in a patriarchal society. But Hedda sabotaging Eileen's life for her own interests adds an intriguing layer of complexity.

Hedda is a thrilling watch, but there's plenty of themes to unpack over multiple watches. DaCosta is one of those rare filmmakers that makes the most out of her cast and crew to not only entertain, but provoke too. Keep an eye out for Hedda when it comes to awards season; just like the characters in the film find, it might be too difficult for voters to look away from this delight.

Hedda screened at the 2025 London Film Festival and is available now on Amazon Prime