Chloé Zhao, the celebrated director behind "Nomadland" and "Eternals," has re-emerged with a project that's already generating significant buzz: "Hamnet." But here's the intriguing part: Zhao describes this film not as a historical drama, but as a "spiritual excavation." What does that even mean? Well, buckle up, because we're about to dive deep into Zhao's creative process, her inspirations, and what makes "Hamnet" such a departure from her previous work – while also being deeply connected to it.
After spending a decade exploring the American landscape for her initial features, culminating in an Oscar win, Zhao is now venturing into a different realm. She describes "Hamnet" as existing on a frequency beyond traditional filmmaking. This is where the "spiritual excavation" comes into play. It's a vulnerable approach, and Zhao is fully aware of the risks involved. She emphasizes the importance of being present in the moment, allowing the story to flow through her rather than forcing it. "We’re experiencing our tools to bring us to the present moment, moment by moment,” Zhao explains, highlighting a process of channeling rather than deliberate construction. This channeling, however, required Zhao to confront aspects of herself she had previously suppressed.
Zhao reveals that her earlier films often lacked or minimized the maternal, deeply feminine energies. "My first three films, if you think about it, the mother characters, the kind of deeply connected to earth, to nature, this kind of powerful feminine energy that almost feels like nature doesn’t coexist—the mothers are either not capable or dead,” she says. She even admits to hesitating before taking on "Hamnet," unsure if she was ready to embrace that side of herself fully. "I actually wasn’t sure I could handle this character. To direct this character, create this character, I have to bring that part of myself out. And I wasn’t even sure I was ready for that.”
The four-year gap between "Eternals" and "Hamnet" wasn't a period of inactivity, but a crucial period of personal and artistic transformation. Zhao sees her initial films as a decade-long journey of discovery, allowing her to understand America as an Eastern person and as a Chinese person. She likens this experience to a volcano, with "Eternals" representing the eruption of pent-up ideas and emotions. The subsequent years were necessary to "cool the lava," allowing her to refine and reshape her experiences into something that could explore the human condition on her own terms. And this is the part most people miss: "Eternals" wasn't just a Marvel movie for her, it was a necessary step in her journey.
Working with actors like Paul Mescal, Jessie Buckley, and the young Jacobi Jupe, Zhao aimed to create what she calls a "container" – a space where audiences can collectively experience grief and transformation. A particularly powerful scene involves Buckley's character confronting unimaginable loss. Zhao emphasizes the delicate balance between preparation and surrender required for such scenes. "For Jessie to go into a scene like the death of a child, and to then hold attention of knowing who this character is, but also not knowing, moment by moment, what’s going to come through – only when you hold long enough that ‘to be or not to be’ tension does the answer arrive,” Zhao explains. She describes Buckley as a conduit, channeling grief through her performance. This raises an interesting question: How much of a performance is acting, and how much is genuine emotion brought to the surface?
Nature played a significant role in the creation of "Hamnet." During location scouting in Wales, a void in an ancient forest inspired the film's central metaphor, connecting the Globe Theatre stage to something primordial and eternal. Zhao even considers nature a key member of her crew, a "head of department" that influenced the film's language, catharsis, and symbolism. This element could spark differing opinions. Some might see this as pretentious or overly symbolic, while others will find it deeply profound.
Ultimately, Zhao hopes that audiences will take away more than just catharsis from "Hamnet." She wants to demonstrate the human capacity for transformation. "We are designed to have the chemical capacity to go through metamorphosis at any time, any stage in life,” she says. She uses the analogy of winter, suggesting that tragedy can be viewed as a natural part of life's cycle, leading to a more beautiful and glorious future. And this is where it gets controversial... Is it really possible to find beauty in tragedy? Or is that a naive perspective?
In addition to "Hamnet," Zhao also discussed her upcoming "Buffy the Vampire Slayer" sequel pilot on the Variety Awards Circuit Podcast. She clarified that it's not a reboot, but a continuation of the original series. "It is not a reboot. It’s a sequel. You can never replace these characters. I would never allow that," she stated. Sarah Michelle Gellar is back, along with new cast members, and Zhao plans to bring back original characters as well. The show aims to bridge two generations of fans, appealing to both longtime viewers and newcomers. Speaking about her own fandom, she said, “Seeing Sarah in real life was probably one of the most stressful moments of my life.”
So, what do you think about Zhao's approach to filmmaking and her vision for "Hamnet"? Do you agree with her perspective on tragedy and transformation? And are you excited about the "Buffy the Vampire Slayer" sequel? Share your thoughts in the comments below!
