The embodied Grief of chloé Zhao: From “Nomadland” to “Hamnet” adn Beyond
Chloé Zhao has quietly become one of the most compelling voices in contemporary cinema, consistently drawn to stories of loss, change, and the search for authentic selfhood. Her films aren’t simply about grief; they embody it, demanding a visceral response from the audience. In a recent conversation, Zhao discussed her evolving approach to portraying this universal human experience, her creative process, and her viewpoint on the shifting landscape of the film industry.
zhao’s commitment to authenticity stems from a deeply personal place. She believes a historical silencing around emotional expression has created a profound deficit in modern society. “We should be allowed to [express grief],” she asserts,recalling a raw emotionality she feels capable of accessing at any moment.
Reclaiming Embodiment: A Reaction to Modern Restraint
this conviction is rooted in a critique of contemporary approaches to healing. Zhao contrasts modern practices – therapy, medication, familial expectations – with historical models of collective processing.
Ancient warriors, she points out, didn’t compartmentalize trauma. They danced, screamed, and healed together.
Even practices like Tantra integrated sexuality as a pathway to healing, a stark contrast to the control often exerted over the body, particularly regarding female experiences like childbirth.
“People are responding to films where actors are embodied,” Zhao explains, “as we miss that.” She believes audiences crave a return to a more holistic understanding of grief, one that acknowledges the body’s crucial role in processing trauma.
Grief as a Catalyst for Transformation
Zhao’s films consistently feature characters grappling with profound loss – loss of dreams, home, purpose, or faith. Though, this loss isn’t presented as an ending, but as a catalyst.
For Zhao, grief is the necessary precursor to becoming one’s true self. Characters must grieve who they thought they were to discover who they are meant to be. This theme resonates on both individual and collective levels.She admits her own journey to understanding grief was a gradual one. “I made films to give characters catharsis and through that, myself,” she shares.
Her friend and fellow director Ryan Coogler (“Creed,” “Black Panther”) recognized a turning point with her latest film, “Hamnet.” he told her it was the first time he saw her truly present on screen,a breakthrough achieved after years of working through grief and fear in her art.
Navigating Oscar Buzz and Staying Present
With “Hamnet” already generating Oscar buzz,Zhao is well-versed in the pressures of awards season. though, she’s learned to navigate this attention by focusing on the present moment.She emphasizes the importance of the process,mirroring the mindful approach she and her team took on set. “We made the film by being present,” she says. “It’s challenging, so I’m trying to take that practice daily - just saying, ‘OK, today is all we have.'”
zhao acknowledges the unpredictability of the industry, recalling her surprise at the success of “Nomadland.” She’s adopted a philosophy of surrender, trusting that things will unfold as they should.
What’s Next: “Buffy” and a Return to the Stage
Zhao’s upcoming projects are diverse and exciting. She recently wrapped directing the pilot for the new “Buffy the Vampire Slayer” series, set 25 years after the original.
She’s deeply connected to the original series and its passionate fandom.
Her company is actively involved in developing the reboot.
Beyond television, Zhao feels a pull towards the stage. She had previously been developing a production of “our Town” but paused it for “Hamnet.” She now hopes to revisit the project, believing her experience with the film will inform her theatrical approach.
The Future of Film: A Threshold Moment
The film industry is currently facing important upheaval – job losses,studio consolidation,and the looming presence of artificial intelligence. Zhao views this as a critical juncture.
“I sense we’re at a threshold – not just the film business, everything,” she observes. She draws a parallel to the moment in Shakespeare’s “Hamlet” when the protagonist contemplates “to be or not to be