Nina Hoss enters the conversation about “Hedda” just as her character, Irene Lövborg, enters that fateful party. She commands the space, exists unapologetically, and is simply impossible to overlook.
The German actress, who spent six years playing “Hedda Gabler” on the stage of Berlin’s strict repertory system, now takes on the challenge of Nia DaCosta’s bold reinterpretation of Ibsen’s classic, playing a character that did not exist in the original text. It’s a transformation that reflects Hoss’s artistic fearlessness and the kind of creative risk that makes century-old material feel urgent again.
“When I read the script, I wondered why no one had thought of it,” Hoss said on Variety’s Awards Circuit podcast about DaCosta’s decision to gender-swap the male character Eilert Levborg to Irene. “That’s what makes it so interesting for the other female characters. All of a sudden, you have a triangle of three female characters that is itself very complex, nuanced, and colorful. And that wasn’t there in the play.”
For Hoss, the enduring appeal of “Hedda” lies in its exploration of internal conflict and social paralysis, both on stage and now on screen. “What should we, men or women, not do to ourselves? To live the life we truly want, to follow the desires and passions we feel within ourselves?” she asks. “We think we can’t do something because society expects something from us, or because we feel queer, and we think we can’t live that life. That’s what’s so interesting to me and always finds me fascinating.”
In DaCosta’s version, Irene is no longer a drunken intellectual man, but a woman struggling to be taken seriously as a writer, scholar, and human being. “Once she entered academia, her struggle to be respected as a writer and as a person, even as an openly gay person, became more frontal and deeper,” Hoss explains. The gender reversal reshapes not just Irene, but the entire structure of the story.
Oscar buzz has been building for Hoss’ intense and emotional performance, with many industry insiders positioning her as a formidable contender for Best Supporting Actress, her first Academy Award nomination. This recognition seems long overdue for an actress who has delivered consistently exceptional work over two decades, but was overlooked for her unforgettable roles in Barbara (2012), Phoenix (2015), and most recently as the calculating partner of an enigmatic musician in Tar (2022). Her work in ‘Hedda’ shows all her talents. If the Academy is finally ready to accept one of the most glamorous actors in international cinema, now might be her chance.
Working with DaCosta, who joins Todd Field and Christian Petzold on the roster of visionary directors Hoss has worked with, was another transformative experience. “What they all have in common is that, at the end of the day, they’re very interested in what we bring to the table as actors,” she says. “They have a childlike curiosity: ‘What are you going to do with it?’ That’s the best thing because it makes them feel very trusted.”
That trust is essential for Hoss, who describes himself as “very much an interpreter” rather than a producer or director. He divides his time between German theater and foreign films, approaching each role with a careful combination of intuition and collaboration. “I used to do theater, and I always go home and do German films because I think it’s important to have that foundation,” she says. “I don’t belong to anyone. I’m open to the right material and collaborators that appeal to me.”
In “Hedda,” Hoss embodies a woman who refuses to shrink herself. Her costume (a custom-made dress with a corset and voluminous skirt) reflects a character recovering from addiction who boldly steps into a space designed to get her back on track. “She’s unapologetically a woman,” Hoss says. “She walks into a room full of men in suits and says, ‘Here I am.’ She’s not hiding. She’s not a glamor in the traditional sense, she just is.”
“There’s something strangely fun about Hedda,” Hoss added, speaking of a personality defined by trappings. Perhaps it’s because she recognizes the universal truth underlying the origins of period costume and theater. That is, we are all, in some sense, “strange creatures with free will, but in a sense trapped within ourselves.” In DaCosta’s reimagining of the pressure cooker, that suffocation is not only visible but visceral, and through Hoss’s performance it comes unexpectedly powerfully to life.
In this episode of the Variety Awards Circuit Podcast, she talks about her role in DaCosta’s film, reflects on changing Hollywood, and what we can expect from her future roles. Listen below!
Nina Hoss “Hedda” (Amazon MGM Studios /Everett Collection)
©MGM/Courtesy of Everett Collection
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Read excerpts from his interview below. Edited and condensed for clarity.
You played Hedda Gabler on stage for six years. What was that experience like and how did you prepare for this film?
To explain, it’s possible thanks to the German repertoire system. “Hedda Gabler” is performed six times a month, or sometimes only twice, depending on other content. One night it might be “media” and the next night it might be “header.” At one point, I was playing six plays at a time in the rotation. In other words, it’s not like we’re doing the same play every night for six years.
The advantage of this system, although it has its challenges, is that you age with your character. What you understand will be different each time. I was never bored. She is trapped, but she also has an invitation to explore the trap. Those questions make “Hedda” endlessly fascinating to me.
How did the gender reversal in the film affect your character and the story as a whole?
In the original play, Eilert Lövborg is a man and Hedda’s former lover. There is tension between them, but it is never fully realized. He is an alcoholic who tells her outrageous stories and always returns stories of his own debauchery.
But Nia completely reconsidered it. Instead of talking about parties, we’re all into this overnight pressure cooker thing. And Eilat becomes Irene, and everything changes. Now she’s a female writer and openly queer woman trying to survive in an academic world that still doesn’t take her seriously. Her battle—to be seen, heard, and respected—is more direct and more layered.
It also makes the dynamics between women moving. Suddenly, we have a triangle of three complex, nuanced, and humanized female characters. That didn’t happen in the original, and I thought it was a great decision.
You’ve worked with great directors like Nia DaCosta, Todd Field, and Christian Petzold. What attracts you to these collaborations?
It always starts with the material. That’s the basics. If something on the page excites me and I can meet the director and talk for hours, that’s a sign. We agree on how we see the world and how we want to tell our stories. I think we can work together well if we connect through conversation.
What’s remarkable about Todd, Christian, and Nia is that they trust their actors. Yes, they have a strong vision, but they also have a sense of curiosity. They want to see what you bring to the table. That feeling of trust opens you up. You want to give everything.
In “Hedda,” playing Irene was like traveling through every emotion imaginable. At first she seems to have everything under control, but then it starts to unravel. There’s something heartbreaking about it, but also something very vivid. And to be supported by an ensemble like Tessa Thompson, Imogen Poots and Tom Bateman was honestly a joy.
The costumes in the film are visually striking. What was involved in shaping Irene’s appearance?
Oh, they were essential. Lindsay, the costume designer, was amazing. We could have gone down the predictable path of suits, masculine tailoring, and Katharine Hepburn. However, I felt that Irene should be intelligent, yes, but her body should not be hidden. She doesn’t take charge with her sexuality, but she doesn’t downplay it either.
There is an important scene where the dress becomes transparent when it gets wet, so I was particular about choosing the fabric. I also thought she needed a corset. She is a recovering addict who is falling back into temptation. The corset helps her hold it together. And skirts take up a lot of space. When she walks into a room full of men in suits, she claims the space.
Even flaws in the costume, such as a slightly off-the-shoulder veil or asymmetry, hint at cracks in her composure. You don’t have to act it out if the costume will do it for you. It’s already talked about.
I divide my time between theater and movies. How do you choose projects?
I never made a list of dream roles. It may be a little naive, but I believe the right one will find you. I produce my own work, not Reese Witherspoon or Nicole Kidman, but I deeply respect them. But I believe that if I remain open and committed, the right project will come along.
For example, I always dreamed of doing something like “Wild” – a road movie on foot. Then, in May of this year, I filmed “The Other Side” with director Mariko Minoguchi, who is half German and half Japanese. A dystopian story set in the Alps. I couldn’t even imagine writing such a script, but when the idea came to me, I grabbed it right away.
Do you have any hopes for the roles that will be given to women, especially women over a “certain age”?
yes. I truly believe that this is the time for us, women in our 40s and 50s. More people are telling their stories, and more people want to see their whole selves on screen. And I think we’re finding each other. As collaborators and creators, we are building spaces for that expression.
As for the “header”, I was a little hesitant. There were three women in charge, which made some people nervous. But it premiered in Toronto and people wanted to talk about it. The studio was standing behind us. Sometimes it takes time, but those experiences give me hope.
I realized that I am not the one pushing things out into the world. It’s a special skill set. I help develop and shape the work and am fully committed to it. Even if nothing happens for a while, I believe something will happen. And that trust, that belief in my work, is what drives me forward.
Variety’s Awards Circuit podcast, hosted by Clayton Davis, Jazz Tunkay, Emily Longeretta, Jenelle Riley, and Michael Schneider, who also produces, is your one-stop destination for lively conversations about the best in film and television. Each episode’s “Awards Circuit” features interviews with top film and TV talents and creators, discussions and debates about the awards race and industry headlines. Subscribe on Apple Podcasts, Stitcher, Spotify, or wherever you download your podcasts.
