
In Nia DaCosta’s Hedda, Tessa Thompson’s titular socialite sows chaos. She manipulates. She cuts people to the bone with a quip. She pours more drinks.
Hedda Gabler, the heroine of Henrik Ibsen’s 1891 play named after the character, has long been one of theatre’s most tragic figures: a woman hemmed in by societal convention and her own dread of scandal. She is that, and more, in DaCosta’s new film.





