Nina Hoss enters a conversation about “Hedda” the same way her character Eileen Lövborg enters that fateful party: she controls the space, is unapologetically present and absolutely impossible to ignore.
The German actress, who spent six years performing “Hedda Gabler” on stage in Berlin’s demanding repertory, now takes on Nia DaCosta’s bold reimagining of the Ibsen classic – playing a character that didn’t exist in the original text. It’s a transformation that reflects Hoss’s artistic fearlessness and the kind of creative risks that make century-old material urgent again.
“When I read the script, I wondered why no one had ever thought of that?” Hoss tells VarietyDaCosta’s awards circuit podcast about DaCosta’s decision to swap the male character from Eilert Lövborg to Eileen. “It makes it very interesting for the other female characters. All of a sudden it becomes this triangle of three very, full-fledged, complicated, nuanced, colorful female characters. And that wasn’t in the play.”
For Hoss, the enduring appeal of “Hedda,” both on stage and now on screen, lies in its exploration of internal conflict and social paralysis. “What do we, as a man or woman, not allow ourselves to do? Live the life we really want, follow the desires or passions we feel within ourselves?” she asks. “We think we can’t do it because society expects something of us, or because we feel queer, and we think, no, I can’t live that life. That’s what I find so interesting and always fascinating.”
In DaCosta’s version, Eileen is no longer a drunken male intellectual but a woman fighting to be taken seriously — as a writer, an academic, and a person. “Her struggle to enter academia, to be respected as a writer, as a person — even as an openly queer person — became much more direct and profound,” says Hoss. The gender reversal reshapes not only Eileen but the entire narrative architecture.
Oscar buzz is building around Hoss’ fierce, emotional performance, with many industry observers positioning her as a formidable contender for the Best Supporting Actress award – which would be her first Oscar nomination. This recognition seems long overdue for an actress who has consistently produced extraordinary work over two decades, but who has been overlooked for her haunting turns in “Barbara” (2012), “Phoenix” (2015) and most recently as the calculating partner of an enigmatic musician in “Tár” (2022). Her work in “Hedda” showcases the full range of her gifts. If the Academy is finally ready to welcome one of international cinema’s most compelling actors, this could be his moment.
Working with DaCosta – who joins Todd Field and Christian Petzold in the list of visionary directors with whom Hoss has collaborated – was another transformative experience. “What they all have in common is that ultimately they are deeply curious about what we bring to the table as actors,” she says. “They have this kind of childish curiosity: ‘What are you going to do with it?’ And that’s the best thing, because you feel so confident.
For Hoss, who describes herself as “more of a performer” rather than a producer or director, that confidence is essential. Dividing her time between German theater and international films, she approaches each role with a clever blend of instinct and collaboration. “I did theater. I always go home and do German films, because I find that basis important,” she says. “I don’t belong to anyone. I’m open to good material and collaborators who fascinate me.”
In “Hedda,” Hoss plays a woman who refuses to shrink herself. Her costume – a tailored dress with a corset and voluminous skirt – reflects a character who, while recovering from her addiction, boldly enters a space designed to destroy her. “She’s definitely a woman,” Hoss says. “She walks into a room full of men in suits and says, ‘Here I am.’ She doesn’t hide. She’s not attractive in the conventional sense – she just is.
“There’s something strangely joyous about Hedda,” Hoss adds, speaking of a character defined by entrapment. Perhaps it’s because she recognizes the universal truth behind period costumes and theatrical origins: that we are all, in some way, “these strange creatures who have free will, but we’re somehow stuck inside ourselves.” In DaCosta’s reinvention of the pressure cooker, this suffocation becomes not only visible but visceral – and through Hoss’s performance, unexpectedly, powerfully alive.
In this episode of Variety An Awards Circuit podcast, she discusses her role in DaCosta’s film, reflects on a changing Hollywood and what we can expect from her future roles. Listen below!
Nina Hoss, “Hedda” (Amazon MGM Studios/Everett Collection)
©MGM/Courtesy Everett Collection
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Read excerpts from his interview below, which have been edited and condensed for clarity.
You played Hedda Gabler on stage for six years. What was that experience like and how did it prepare you for this film?
Just to explain, this is possible thanks to the directory system we have in Germany. I might perform “Hedda Gabler” six times a month, or sometimes only twice, depending on what else is going on. One night might be “Medea,” the next “Hedda.” At one point, I had six games in rotation at the same time. So you don’t play the same piece every night for six years.
The beauty of this system, despite its challenges, is that you age with the characters. You understand them differently each time. I was never bored – not once. She is trapped, but there is also an invitation to explore this trap. These questions make “Hedda” endlessly fascinating to me.
How did the gender reversal in the film affect your character and the overall story?
In the original play, Eilert Lövborg is a man: Hedda’s former lover. There is tension between them, but it is never fully realized. He is an alcoholic who tells her crazy stories, always coming back to her with tales of his debauchery.
But Nia completely reinvented it. Instead of talking about the party, we’re all in it – this pressure cooker of a night. And Eilert becomes Eileen, which changes everything. Today, she is an openly queer writer trying to survive in an academic world that still doesn’t take her seriously. His fight – to be seen, heard, respected – is more immediate, more complex.
It also makes the dynamic between the women electrifying. Suddenly, you have this triangle of three complex, nuanced and deeply human female characters. That wasn’t there in the original, and I thought it was a brilliant decision.
You’ve worked with incredible directors like Nia DaCosta, Todd Field and Christian Petzold. What attracts you to these collaborations?
It always starts with the hardware. This is the basis. If something excites me on the page and I meet the director and we can talk for hours, that’s the sign. We are aligned in how we see the world and how we want to tell stories. If we connect in conversation, I know we can work well together.
What’s remarkable about Todd, Christian and Nia is that they trust the actors. They have a strong vision, certainly, but they are also curious. They want to see what you will bring. This feeling of confidence opens you up. You want to give it your all.
With “Hedda,” playing Eileen was a journey through every emotion imaginable. At first she seems to have everything under control, but then everything unravels. There is something heartbreaking about it, but also something very vivid. And to be supported by an ensemble like Tessa Thompson, Imogen Poots and Tom Bateman – it was a joy, honestly.
The costumes in the film are visually striking. How involved were you in developing Eileen’s look?
Oh, they were essential. Lindsay, our costume designer, was awesome. We could have followed the expected route: suits, masculine cuts, like Katharine Hepburn. But I thought Eileen had to be intellectual, yes, but without hiding her body. She doesn’t direct her sexuality, but she doesn’t downplay it either.
There is a key scene where her dress becomes translucent when wet, so the fabric had to be carefully chosen. I also thought she needed a corset – she’s a recovering drug addict returning to temptation. The corset helps her hold on. And the skirt takes up space. When she walks into a room full of men in suits, she claims that space.
Even the imperfections of the costume – the slightly exposed veil, the asymmetry – suggest the cracks in her composure. When a costume does this for you, you don’t have to play it. That already speaks for itself.
You divide your time between theater and cinema. How do you choose your projects?
I never made a list of dream roles. It might be a little naive, but I believe that good things find you. I’m not Reese Witherspoon or Nicole Kidman, I produce my own work – even though I admire them deeply. But I trust that if I stay open and engaged, good projects will come to fruition.
For example, I always dreamed of doing something like “Wild,” a walking road movie. And last May, I shot “The Other Side” with Mariko Minoguchi, a half-German, half-Japanese director. It’s a dystopian story set in the Alps. I could never have imagined this scenario, but when it came to mind, I grasped it.
Are you optimistic about the roles available to women, particularly those over a “certain age”?
Yes. I really believe it’s our time now – women in their 40s and 50s. More of us are telling stories, more of us want to see ourselves fully on screen. And I think we meet again. As collaborators and creators, we build space for this representation.
With “Hedda,” there was some hesitation. There are three women at the helm, which made some nervous. But the premiere was in Toronto and people wanted to talk about it. The studio stood behind us. Sometimes it takes a while, but these experiences give me hope.
I realized that I wasn’t the one pushing things in the world – it was a particular skill set. I help develop and shape the work, and I hang in there. If nothing happens for a while, I hope something does. And this confidence, this faith in the work, is what allows me to continue.
Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and TV. Each episode, “Awards Circuit,” features interviews with top talent and creatives in film and television, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or wherever you download podcasts.
