100 Nights of Hero director Julia Jackman talks queering the fairytale and the impact of casting Charli xcx

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Before making “100 Nights of Hero,” Julia Jackman, a writer and director originally from Alberta, Canada, mostly created short films. In 2023, she directed her first full-length movie, “Bonus Track,” a teen romance written by actor Josh O’Connor. Her new film, “100 Nights of Hero,” is a different kind of story – a lighthearted, fantastical romance set in the past.

This movie is based on Isabel Greenberg’s graphic novel, The One Hundred Nights of Hero, which was inspired by the classic Middle Eastern story, One Thousand and One Nights. It centers on Cherry, whose husband, Jerome, tests her loyalty by leaving her alone for 100 nights with his playful friend, Manfred. Over the next 90 minutes, a vibrant and chaotic story of love, secrets, and desire unfolds between Cherry, Manfred, and Cherry’s maid, Hero.

After a friend suggested it nearly ten years ago, Hugh Jackman finally brought this special film to life, gathering a wonderfully diverse cast. The group includes Emma Corrin, known for her role as Princess Diana, horror star Maika Monroe, rising actor Nicholas Galitzine, and musician Charli xcx (whose album actually came out while they were filming – remember Galitzine’s viral Apple dance?). Filmed in beautiful locations like Knebworth House, with stunning visuals from cinematographer Xenia Patricia, and an original soundtrack by Olivia Coates, Jackman has created a charming film that’s arriving in the UK this week.

We recently spoke with Jackman just as her new film hit theaters, covering topics like her interesting choices for the cast and the movie’s visually stunning style.

I understand a friend first showed you this graphic novel. What specifically caught your attention when you first started reading it?

I was really attracted to the story’s fairytale aspects, especially because queer fairytales aren’t common. I also loved the idea of escaping to a completely different world that still felt connected to our own.

I really enjoyed how quickly the story moved, its clever humor, and its playful, over-the-top style, even though, like many fairy tales, it deals with some dark and serious themes.

The classic tale of One Thousand and One Nights has been retold many times, often focusing on male characters and viewpoints. How did you approach adapting this story with a feminist and queer perspective?

I found it really fascinating because you’re contributing to a growing storytelling tradition now. Isabel Greenberg’s book already clearly drew inspiration from ‘One Thousand and One Nights,’ which I also enjoy. But what’s great about stories like that—and classic, archetypal tales in general—is that you can always add your own personal touches and make them feel relevant to your own experiences.

It was really fulfilling to build upon that story’s strong foundation and clever idea. I also had the creative freedom to reimagine it for today – to ask what a villain would be like and how the story would feel if it were happening in the mid-2020s.

Even though the story is set in the past, the fantastical elements allowed us to create a completely unique world.

As a critic, what really struck me about this film was the casting. It’s so smart – every actor feels perfect for their part, even when you look at the group as a whole and realize how different they all are. It’s clear a lot of thought went into assembling this cast, and it really pays off.

They are all very eclectic, aren’t they? [laughs]

Maika Monroe is known for her work in horror, while Emma Corrin is a dramatic actress. What led you to believe they’d work well together in this particular story?

I already admired both of their previous work. I thought Maika, with her experience in horror, would be a great fit because the story we’re telling has thriller elements. It’s set in a world where even minor offenses can lead to execution, and everyday interactions – like a stranger kissing your hand – feel dangerous and could play out like a suspenseful thriller or horror movie.

I immediately connected with Maika. Her quick wit, combined with her kind and lovely personality, made me think we’d work really well together, and that she had a lot to offer.

She was incredibly skilled at using subtle facial expressions and physical tension to convey emotion. I also hope she enjoyed playing a character with a lighter side. Even though Cherry is usually scared, Maika brought a wonderful, understated humor to her looks and conversations with Hero.

Meeting Emma and the team felt similar – I already admired their work, and it was clear what aspects of the role excited them. They were particularly drawn to the opportunity to tackle something new and different from their previous experiences.

Everyone involved was hoping to create something unique. Corrin possesses a remarkable voice and a powerful presence, but they also bring a lot of fun and lightness to their work.

Nick Galitzine is a fantastic actor with great chemistry and charisma – he can connect with anyone. I thought that made him perfect for a villain who feels genuinely threatening, someone you could actually believe might win. I also liked the idea of giving him a softer side, making the audience question why they might start to sympathize with him. Exploring that complexity seemed really interesting.

I was really curious about the casting of Charli XCX – she’s coming from the music world, which is so different from acting. I asked the director what specifically drew them to her for the role of Rosa. They explained that she brought a really unique energy to the character, something I think another actress might have missed. It wasn’t just about hitting the marks, but bringing a fresh perspective to Rosa that felt really compelling.

I think she’s amazing. When I first met her and we started talking, we just clicked – it felt like a perfect creative pairing. Meeting her in person revealed a side of her I hadn’t seen in her performances or concerts. I discovered how thoughtful, nuanced, and dryly funny she is – she has a really subtle sense of humor.

I was captivated by her portrayal of that gentle optimism and vulnerability. I also realized that the character, Rosa, is someone others easily see themselves in. She has a natural charisma, and I thought it would be compelling to explore that dynamic – the way people project their own feelings onto her.

I have to say, Rosa’s guitar playing felt so authentic. It wasn’t a plot device introduced because of Charli; she was already dedicated to it, practicing long before their connection even became a topic. Honestly, I briefly wondered if it was too obvious a detail, but then I realized… what else would she be doing? Trying to force another hobby just felt wrong. The guitar was just her, and it felt natural to see it woven into the story.

So, we ended up right back at the beginning, which was awesome because that’s where Charli had this incredible, custom-made instrument she played. Honestly, working with her was just a really fantastic experience.

I have to say, some of the visuals in this film really stuck with me – especially those moments when Cherry is waking up. I was really curious about how you approached filming those scenes, visually speaking. What was your thought process behind them?

Ultimately, we were working with limited time and a small budget, so we focused on staying true to the original vision for the project.

Our director of photography, Xenia Patricia, and gaffer, Bill Rae Smith, were both fantastic. I specifically asked for Bill because I was so impressed with his creative use of color and texture in the film Rye Lane.

We aimed to give the visuals a rich, painterly quality, partly as a nod to the style of the original graphic novel.

We weren’t able to move anything around in the old manor where we were filming. We mostly had to work with the existing furniture. There was this four-poster bed with a very old cover, and it had a small opening. We just lowered the camera through that opening and figured out how to get the shot.

It involved a lot of basic, temporary fixes. However, I believe using color, lighting, and a simple, well-chosen color scheme, along with thoughtful costumes, really improved things.

Considering the historical setting, did it change how you tackled themes of queerness in this project, compared to how you did in Bonus Track?

It’s funny, I’m not even sure if there’s a real distinction between the two. The song ‘Bonus Track’ actually came about in a surprising way. And I think, at their core, both stories are about people figuring themselves out – people who, for different reasons, haven’t really connected with what they truly want.

As a movie fan, I always find it interesting when a character’s internal world clashes with the external one. In this case, Cherry exists in a really dark and dangerous place – seriously, she could be executed just for being out alone at night! But that heightened sense of drama feels right for a teenager, doesn’t it? Everything is huge when you’re that age, and the movie really captures that feeling.

Both stories really capture how even small, personal moments can feel incredibly powerful when you’re experiencing them for the first time. They’re gentle and emphasize connection and closeness, rather than rushing into things.

If you could tell/be told a story for 100 nights, which one would you choose?

That’s a great question! If I had to pick just one book, I’d say Pride and Prejudice. I’m drawing a blank on anything else right now! It’s a book I always return to for comfort – it really helps me relax. I especially love the dynamic between characters who start out disliking each other but eventually fall in love. It’s just incredibly soothing, and I practically know it by heart.

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100 Nights of Hero is available to watch in UK cinemas from Friday 6th February.

Authors

Chezelle BinghamSub-Editor

Chezelle Bingham is a Sub-Editor at TopMob. Before that, she was a Writer for Disney, creating content for six magazines aimed at young children. She has a BA degree in English Literature and Language.

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2026-02-06 11:38