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Tessa Thompson on Hedda: “Embodying My Character Made Me Interrogate Myself”

by jummy84 November 17, 2025
written by jummy84

Actress Tessa Thompson takes the lead in the film Hedda, a reimagining of Henrik Ibsen’s 1891 classic Hedda Gabler, and also serves as a producer on the film. Directed by Nia DaCosta, the adaptation brings a contemporary lens to the original play and introduces a distinctly queer interpretation. During a global press conference, Thompson reflected on her decade-long creative partnership with DaCosta and spoke about revisiting Hedda Gabler for today’s audience.


About her Relationship with Nia DaCosta

Director Nia and Tessa’s working dynamic evolved over time. Tessa explained, “I first met her at the Sundance Film Labs. She wanted to make her first feature called Little Woods and I was there just donating my time. I didn’t think that we would go on to make a film together. And that began our collaboration, 10 years ago. When she first told me that she wanted to work on an adaptation of Hedda Gabler, I didn’t imagine that she meant she wanted me to play Hedda. It’s a character that’s captivated me. But I didn’t understand what the sort of cinematic imperative was to retell it in this time. And it was only when I read her first draft, I really understood what she wanted to do with it, which is to take it apart and put it back together.”
About the Challenges She Faced as an Actor and Producer
Making the Hedda Gabler adaptation wasn’t easy. The Hollywood writers’ strike made things extra difficult. Tessa said, “Two days before we began shooting, the strike happened (Hollywood strike). And we thought it would just be a couple of weeks, and it ended up being a double strike, which lasted for some time. One of the challenges was to keep it afloat. We had already moved into this incredible estate, and we had wallpapered the place, and brought in a lot of lacquer. Another challenge was to convince our collaborators and the homeowners to keep the house dressed, because otherwise we probably wouldn’t have been able to make the movie. Those were the productional challenges.”

Not just this, but Thompson faced certain challenges as an actor as well, including getting into the dress for her character, which she feels was not kind to her body. She continued, “It was challenging to gain an understanding of the piece. I did that by watching every adaptation I could get my hand on, reading all of the different translations of the work, and trying to understand architecturally why this a piece that has captivated us for so long. Wearing that dress – the boning and construction of 1950s silhouettes, which are not the kindest to a body, was also challenging. But what’s inherent in the design is the idea that Hedda Gabler is confined and constricted, not just by her time but by her choices.”

Playing Hedda Changed Tessa’s Own Persona
Hedda is smart and calculative, a bit different from Thompson, who calls herself naive. But playing this character did have an impact on her. She explained, “I am a bit naive. Even though we work in an industry where you can sometimes feel those dynamics in the rooms we occupy, I try to ignore that and just relate to people as people, not for what they do or what they can do for me. I’ve always been a bit allergic to that way of moving through the world. But I think embodying a woman who isn’t afraid of that kind of manipulation made me interrogate myself.”
Tessa’s Initial Reaction To Nia DaCosta’s Adaptation of 130-Year-Old Material

Adapting a 130-year-old material also meant that they had to be careful about placing it in the modern context so that it finds relatability. Thompson elaborated, “Something that really struck me was obviously this huge fundamental change that Nia’s made by making a character who’s typically a man, Eilert Lovborg, into Eileen Lovborg It makes the piece queer in a way that the original piece isn’t. It also gives Hedda a real foil. Another woman who’s in the world and making very different choices. Our piece wants to explore pathways to personhood and gaining agency over one’s life. In the original piece, you have Hedda saying, “For once, I want to be in control of a man’s destiny.”  And I think in our piece, you see a woman struggling with trying to be in control of her own. Those struggles, even the ones that Eileen are facing of trying to be taken seriously in spaces that are male dominated, is something that I understand.”

hedda
Putting Hedda Into A Modern Context

The Thor: Ragnarok actress added, “We exist now in a time where there’s so much positivity around sisterhood or women in relation to each other and I am grateful for that. And this is a woman [Hedda] isn’t necessarily interested in that. She acts out of jealousy and envy. The idea of a woman being quite jealous of another woman and acting out on does not have a lot of grace in the world that we live in now, which I appreciate. But if these feelings are left unchecked, and we don’t allow ourselves to sit with those feelings, we actually cut off parts of ourselves that are important. That was something interesting to unpack through playing her.  And something that I’m really interested in modern audiences to engage with.”

Hedda is streaming on Amazon Prime Video.


Also Read: Nia DaCosta Explains The Bold Queer Reimagining of Hedda, Talks About Her Bond With Tessa Thompson

November 17, 2025 0 comments
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'Hedda' Director Nia DaCosta — Filmmaker Interview
TV & Streaming

‘Hedda’ Director Nia DaCosta — Filmmaker Interview

by jummy84 October 30, 2025
written by jummy84

Nia DaCosta has had a version of Hedda Gabler living, or perhaps lounging, in her head for a long time. The writer and director first started thinking about a film adaptation of the Henrik Ibsen play in 2012, while she was getting a masters in the UK, and first took a stab at writing it in 2018, after the release of her debut feature “Little Woods.” But even as DaCosta dove into worlds fantastical and strange in “Candyman” and “The Marvels,” every six months or so, she’d take “Hedda” out of the drawer to fiddle with it. 

On a recent episode of the Filmmaker Toolkit Podcast, DaCosta told IndieWire that continuing to play with the script wasn’t just about calibrating the levels of performance, repression, and passion simmering just beneath the characters’ exteriors. Her approach to film adaptation requires looking closely not just at the text and how it can matter to the times we’re in, but why it matters to the person doing the adaptation. 

Pascal Bonitzer's Auction

“It’s what keeps classical works alive. You have to adapt it not just for the time but for the person that you are and for whatever impact — emotionally, psychologically, existentially — it had on you, because that means something,” DaCosta said. “I think if you can transfer not just the play and what it means but also your reaction to the play and how you feel about the play to your version of it, I think that’s super important.” 

DaCosta’s “Hedda,” then, uproots from Norway to a post-war English manner, indulging in all of the gloss and repression of the era and pinning the characters in emotional hedge-mazes of their own making — as well as, of course, a literal hedge-maze that is not as great a makeout spot as it might at first appear. Offstage events get to be shown and experienced vividly through cinematographer Sean Bobbitt’s buzzed but still sharply observant roving camera. Tessa Thompson’s Hedda gets to be imperious at the very instant she enters a room, taking up a queen’s share of the frame in costume designer Lindsay Pugh’s dresses and expertly navigating the hidden corners of production designer Cara Bower’s sets. 

DaCosta is always adjusting the dials, whether it’s through the visual language and the amount of light we see lining up with Hedda’s whims or through the blocking and pacing of the film’s shifts between humor, desire, and darker character impulses. “You have to really be clear with the cast and crew about what the tone is for each scene in each moment and how we’re shifting into the next gear. That’s all calibrating, modulating, in rehearsals, on the day, in the edit,” DaCosta said. 

But every shift in the tone of the film arises out of DaCosta’s feeling about the protagonist. “I think she’s funny. I think she’s horrifying. I think she’s vicious. I think she’s vulnerable,” DaCosta said. “So we can go from farcical, like, chandelier falling and Eileen [Nina Hoss] getting into a fight in the conservatory, but it’s all fueled by real emotion. I think it’s so important to be able to do that.” 

HEDDA, Tessa Thompson (center), 2025. ph: Matt Towers /© Amazon MGM Studios /Courtesy Everett Collection
‘Hedda’©MGM/Courtesy Everett Collection

It’s important to DaCosta because for however heightened and glamorous a setting as the film builds, the director wanted to balance it with the real, eternally relatable experience of wild shit going down at a party. 

“The tone shifts were me trying to mirror, like, when you’re at a party and the lesbian drama’s happening somewhere, it seeps into the rest of the party and you’re like, ‘Oh no.’ It goes from being super fun to being, ‘Oh god, who just came out of the bedroom with — oh, that’s not good. Oh my God. Oh, what happened? That’s hilarious.’ You know? It just is the way we are, and I knew that for ‘Hedda’ it had to feel as dynamic as real life,” DaCosta said. 

Real life on film, however, requires a lot of rehearsal. “ I studied writing at a drama school because I wanted to work with actors — to learn more about how they work, what their whole deal is, what’s wrong with ’em,” DaCosta joked. “I realize that what’s so beautiful about theater and what I love actually about telling stories is the collaboration… you know, I’m the coxswain at the head of the boat, making sure we’re going in the right direction, telling everyone, ‘OK, go fast, go slower,’ et cetera. And rehearsals, for me, are about making sure the script is right. Then my DP and I are blocking everything out with the actors.” 

HEDDA, Nina Hoss, 2025. © Amazon MGM Studios /Courtesy Everett Collection
‘Hedda’©MGM/Courtesy Everett Collection

DaCosta’s found that in slowly bringing the cast and crew together, starting with Bobbitt but then sometimes camera operator Simon Wood or others, a collaborative process can emerge to help the company adapt to the space and come up with exciting character work that just feels real. 

“We got to rehearse in the house with all the set dressing in the house for two weeks before we started shooting, so it was the ideal thing. For example, the scene with Eileen walking in with her dress wet and exposed, talking to the men, I want her to really play the room and use the whole space. So we were like, ‘OK, maybe she makes the martini here, and then, should she light a cigarette here?’” 

But the process of working all of that out helped DaCosta and her cast know exactly when and where Eileen should light a cigarette for maximum impact. “We [decided that] should have this moment with her and George [Tom Bateman], and George being so enraptured by her. Let’s bring her next to George. Oh he can’t light a cigarette. Let’s have that be a moment. Let’s have her light it.  And then, [the scene is] slow building and it’s just so fun and gratifying.” 

To hear Nia DaCosta‘s full interview, subscribe to the Filmmaker Toolkit podcast on Apple, Spotify, or your favorite podcast platform.

“Hedda” is now playing in theaters and streaming on Prime Video.

October 30, 2025 0 comments
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In 'Hedda' Tessa Thompson Is Chaotic, Messy & Riveting
Fashion

In ‘Hedda’ Tessa Thompson Is Chaotic, Messy & Riveting

by jummy84 October 24, 2025
written by jummy84

Turning Henrik Ibsen’s play into a sensual Black, queer, romp for modern audiences was risky. But Thompson and DaCosta have proven time and time again that they take big swings. From blockbusters (both have dabbled in the Marvel universe, Thompson is the star of the Creed franchise and DaCosta is about to direct the next instalment of  the 28 Years Later series), to daring adaptations, to small original ideas (they first collaborated on Little Woods), this director-actor duo do all the things we’re being told can’t exist in Hollywood anymore. And their latest collaboration is their best yet. Ultimately, Hedda is a stunning reimagining that painstakingly and purposefully builds towards an astonishing climax. It’s gorgeous and bold and just another entry into the canon of both DaCosta and Thompson’s work about complicated, brilliant, and infuriating women. 
October 24, 2025 0 comments
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Tessa Thompson Stars in Nia DaCosta's Ibsen Drama 'Hedda' Trailer
Hollywood

Tessa Thompson Stars in Nia DaCosta’s Ibsen Drama ‘Hedda’ Trailer

by jummy84 August 22, 2025
written by jummy84

Tessa Thompson Stars in Nia DaCosta’s Ibsen Drama ‘Hedda’ Trailer

by Alex Billington
August 21, 2025
Source: YouTube

“Nothing can wrong tonight, Hedda. Nothing…” But it shall go wrong anyway! Prime Video finally reveals their official trailer for Hedda, the next new film from Nia DaCosta after she made Marvel’s The Marvels (and before she went on to direct 28 Years Later: The Bone Temple which is out next year). Adapted from the Henrik Ibsen play “Hedda Gabler“, DaCosta reinvents the story to tell it from a different angle. Hedda is a provocative, modern reimagining of this classic play. Tessa Thompson stars as the titular Hedda Gabler, who finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life, including feelings for the provocative author Eileen Lovborg. Over the course of one charged night, long-repressed desires & hidden tensions erupt — pulling her and everyone else into a spiral of manipulation, passion, and betrayal. “Just a little chaos.” Starring Tessa Thompson, Imogen Poots, Tom Bateman, Nicholas Pinnock, and Nina Hoss. This looks quite good! A ravishing, passionate new take on this story. It will premiere at the 2025 Toronto Film Festival next month before it’s out for streaming later in October.

Here’s the first official trailer (+ poster) for Nia DaCosta’s film Hedda, direct from PV’s YouTube:

Hedda Trailer

Hedda Poster

Intro via TIFF: “Newly wed and precariously dissatisfied with life, Hedda (Tessa Thompson), gun-loving daughter of the late General Gabler, has just convinced her husband George (Tom Bateman), a timid but ambitious scholar, to throw a lavish party the couple cannot afford. On the teeming guest list is Eileen Lovborg (Nina Hoss), a celebrated author of a book exploring sexuality — and also George’s key rival for a coveted academic post. Hedda sees the guests as pawns in an elaborate game she plans to orchestrate with ruthless precision.” Hedda is directed by the acclaimed American filmmaker Nia DaCosta, also director of the films Little Woods, Candyman, and The Marvels, plus episodes of the “Top Boy” series, as well as the upcoming 28 Years Later: The Bone Temple. The screenplay is also by Nia DaCosta, adapted from the play “Hedda Gabler” by Henrik Ibsen. Produced by Dede Gardner, Nia DaCosta, Jeremy Kleiner, Gabrielle Nadig, Tessa Thompson. This is premiering at the 2025 Toronto Film Festival this fall. Amazon will then release DaCosta’s Hedda streaming on Prime Video worldwide starting October 29th, 2025. How does that look?

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August 22, 2025 0 comments
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