Chloé Zhao’s “Hamnet”: A Masterclass in Humanizing Grief and Navigating Industry Flux
The film industry, much like human experience, is a landscape often defined by its peaks of overwhelming spectacle and its valleys of profound intimacy. Chloé Zhao, a director who has masterfully traversed both, recently unveiled “Hamnet” at the Telluride Film Festival, offering not just a film, but a resonant meditation on loss, art, and the human condition. Her approach, as evidenced by the film’s powerful reception and her own candid reflections, signals a potential shift in how we engage with deeply emotional narratives in an era grappling with rapid technological and societal change.
Zhao, known for her Oscar-winning work on “Nomadland” and her foray into the Marvel universe with “Eternals,” returns to a more intimate scale with “Hamnet.” The film, adapted from Maggie O’Farrell’s novel, delves into the domestic life of William Shakespeare, focusing on his marriage to Agnes (Jessie Buckley) and the devastating death of their young son, Hamnet. Paul Mescal portrays Shakespeare not as an untouchable icon, but as a man wrestling with grief, a portrayal that resonated deeply with the Telluride audience. The unconventional opening of the film, where Zhao and her cast led the audience in a shared meditative ritual of breath and self-acknowledgment, set a tone of communal vulnerability that underscored the film’s exploration of heartbreak.
The “Fire” and the Return to Intimacy
Zhao’s journey to “Hamnet” is marked by a palpable evolution, particularly after the polarizing reception of “Eternals.” She speaks of navigating a “very painful fire,” a period where the immense scale of a franchise film left her questioning her own vision and feeling a profound disconnect from the experience. This experience, she admits, instilled a sense of fear and a need to recalibrate. “I felt I couldn’t film another sunset that would satisfy me the way it had with ‘The Rider’ and ‘Nomadland,'” she explains, referring to her earlier, smaller-scale successes. This yearning for genuine human connection and a more grounded artistic expression ultimately led her back to a project like “Hamnet,” a film that prioritizes “intimate human drama” over cosmic spectacle.
From “Eternals” to “Hamnet”: A Director’s Reset
The contrast between “Eternals” and “Hamnet” highlights a growing trend: a potential re-evaluation of large-scale blockbusters versus character-driven narratives. For Zhao, it wasn’t just about budget size, but about a fundamental shift in her artistic and personal perspective. “In my 30s, I wanted to chase the horizon… I realized I’d been running like a cowboy, like a nomad,” she reflects. The descent into more personal introspection has prepared her for a more “vertical” kind of humanity in her filmmaking. This movement signals a broader industry conversation about the sustainability of endless expansion versus the enduring power of deep, personal storytelling.
Humanizing the Bard and Embracing Ambiguity
One of the most striking aspects of “Hamnet” is its refusal to deify William Shakespeare. By centering the narrative on his familial life and struggles, Zhao humanizes a figure often shrouded in myth. The deliberate withholding of his name until late in the film further emphasizes this, positioning him as a husband and father first. This approach, deeply rooted in Maggie O’Farrell’s novel, taps into archetypal energies, as Zhao explains, drawing from Jungian psychology and Hindu Tantra. The film explores the interplay of masculine and feminine, birth and death, and the need for a healthy connection to one’s roots. This exploration of duality and balance is a testament to Zhao’s evolving directorial philosophy, moving beyond a singular truth to embrace the multifaceted nature of human experience.
The Unspoken Language of Grief
Portraying profound grief, particularly the loss of a child, is a delicate act. Zhao acknowledges the difficulty for both filmmakers and audiences, referencing films like “Ordinary People” and “Manchester by the Sea” as benchmarks. However, her approach to depicting sorrow is less about restraint and more about liberation. “Agnes’ wailing — I could do that right now in front of you. We should be allowed to,” she states, highlighting the historical suppression of outward emotional expression. She draws a parallel to ancient rituals of healing, contrasting them with modern approaches that often isolate individuals in their grief. The raw, embodied performances of Jessie Buckley and Paul Mescal, she suggests, are a response to this societal deficit, a yearning for a more visceral connection to emotion.
Grief as a Universal Through-Line
Zhao identifies grief not merely as a theme in “Hamnet,” but as a recurring motif across her filmography. For her, all her characters begin from a place of loss – of dreams, home, purpose, or faith. Their journey is one of grieving who they were to become who they truly are. This personal quest for understanding and catharsis through filmmaking is what Ryan Coogler, a close friend and fellow director, recognized in “Hamnet.” He observed that for the first time, Zhao wasn’t hiding behind her subjects; she was “finally being seen.” This realization underscores the deeply personal nature of her artistic evolution.
Navigating Industry Uncertainty and the “Threshold” Moment
As the industry faces consolidation, job insecurity, and the looming presence of AI, Zhao views this period as a critical threshold. “We can’t go back and we don’t know how to go forward,” she notes, likening the current state to a moment of profound uncertainty. However, she also sees potential for transformation, drawing a parallel to physics where opposing forces can lead to a new equilibrium and expansion. Her philosophy for navigating this flux is simple yet profound: surrender, embrace loved ones, and focus on the present. This grounded approach, honed through her filmmaking journey, offers a valuable perspective for creators and audiences alike.
Looking Ahead: From “Buffy” to the Stage
Beyond “Hamnet,” Zhao is embarking on new projects, including a pilot for a new “Buffy the Vampire Slayer” series, a franchise she holds dear. She also expresses a desire to return to the theater, an ambition that was paused for “Hamnet.” Her experiences, particularly the profound emotional resonance of her latest film, suggest a continued exploration of what it means to be human in an increasingly complex world.
What are your thoughts on Chloé Zhao’s approach to humanizing historical figures and exploring grief? Share your insights in the comments below!
