Hedda was a film I originally had to pass up at TIFF 2025, but after hearing some of the festival chatter, I decided to snag a last-minute ticket to see what all the fuss was about. I am so glad that I did, because Hedda was the most suspense-filled thing I have seen at the festival so far, and I only have one film left to go.
Hedda is a film at TIFF 2025, which was adapted from a play called Hedda Gabler written by Henrik Ibsen, who died in 1906. Since we are scandalous, shooting handguns and driving cars, I would have to assume some creative liberties were taken to bring Hedda into the 1900s. Writer and director Nia DaCosta is known for 2021’s Candyman and The Marvels, neither of which I have seen. She will also be helming 28 Years Later: The Bone Temple, and I am starting to think that she doesn’t really do the same thing twice.
The story follows the titular Hedda, shortly after she marries at a party she throws to introduce their marriage to society. I am unsure what time period we are in, but it sure felt like the 30s or 40s, and some of the style and music made me think of Chicago. The set dressing and costumes are absolutely stunning. The movie begins with her speaking to the police, discussing a gunshot at her party, and the remainder of the movie is her recounting the entire evening. Her former lover (of whom there are many), Eileen, attends, sending Hedda into a whirlwind.
“Hedda was the most suspense-filled thing I have seen at the festival so far, and I only have one film left to go.”
We learn that she is rebellious, manipulative and loves to cause chaos. Themes of sex, power, freedom and love are explored in all the chaos. If Hedda isn’t happy, no one is. She wields sex as power and manipulates anyone around her to get her way, and yet…we want to see her succeed. She somehow has no redeeming qualities, but even we as viewers are sucked into her cons, despite knowing exactly what is going on.
This is thanks in part to the writing and directing of DaCosta, and in part to Tessa Thompson, who plays Hedda. The writing itself is fast, slick and smart. The sound and camera work both do their part to focus in on Hedda when she is spinning out or developing a scheme. Music becomes muddled and quiet when she is onto something, with only her breath coming to the surface.
When Eileen enters the film during one of these moments, her heels click over Hedda’s sound. It signifies the one person who is louder in her head than herself. Eileen is the only one with power over Hedda. This is shown in so many ways outside of words throughout the film, whether it is an angle or blocking, and DaCosta uses that to display their back-and-forth and who is “winning” over the other at any given time. It’s just so interesting to watch.
“By the final act, I was on the edge of my seat, with misdirect after misdirect keeping me fully engaged.”
None of this would be possible if Thompson weren’t as perfect as she is as Hedda. Her dialogue is quick and biting. The way she toys with her prey and plays puppetmaster is entirely convincing. But as skilled as she is at inciting debauchery, Thompson is at her best when she is broken and empty. She conveys her lost soul through her eyes and the ability to bring this empty look to her face, convincing us to pity her, even though we know the torture she has caused others.
Some kudos are owed to other cast members, too. Nina Hoss’ Eileen commanded her scenes. Whether she was going toe to toe with Hedda or utterly falling apart, she pulled me in with her. Imogen Poots plays Eileen’s lover, Thea. When I talk about how expressive these women are, the trio here is really something to contend with. Whether it is fury or heartbreak or fear, each is flawless. Shout out to Tom Bateman, too, as the beta to Hedda’s alpha, who also gets a chance to come into his own. His discomfort and fragility are evident every second.
Hedda was brought to life with a perfect cast and a script that many couldn’t pull off. Though I felt a lull mid-film, by the final act, I was on the edge of my seat, with misdirect after misdirect keeping me fully engaged. If you like suspense and women wreaking havoc, Hedda is the film for you.
