28. Hedda

What is cinematic pleasure, you ask? We offer Nia DaCosta’s HEDDA (2025) as an answer: stylish formal choices, substantive commentary on gender/race/class, delicious sexual tension, and a transfixing titular character whose antics range from petty revenge to evil. We also manage to put the film in conversation with Saltburn (a far inferior object, Marin argues) and the panned Ryan Murphy legal drama All’s Fair (which Maggie watched during a bout of the flu). 

 

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