Hamnet Director Chloé Zhao Reveals Greek Mythology Influence In Oscar-Buzzy Drama

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Chloé Zhao’s next film could be a major awards contender. Titled Hamnet, it’s inspired by a fascinating element of Greek mythology and co-written by Zhao with author Maggie O’Farrell. The movie is based on O’Farrell’s novel, which reimagines the life of William Shakespeare and his wife, Anne Hathaway. It explores how the death of their 11-year-old son, Hamnet, affected their relationship and is believed to have inspired Shakespeare’s famous play, Hamlet.

Starring Paul Mescal, Jessie Buckley (as Agnes, a name change for the film and book), and Jacobi Jupe, Hamnet has received high praise since its debut at the 2025 Telluride Film Festival, with Jessie Buckley’s performance being a standout. The film is now considered a strong contender for several Academy Awards, including Best Picture, Best Director, and Best Actress.

I recently read a fascinating interview with Chloé Zhao, Jessie Buckley, and Paul Mescal over at ScreenRant about their new film, Hamnet. Liam Crowley asked about the noticeable echoes of Greek mythology throughout the movie – things like William and Agnes talking about Orpheus and Eurydice, and even the wedding scene feeling like something from those ancient stories. And Chloé Zhao totally confirmed it wasn’t accidental! She said those parallels were “very much” intentional, and a really important part of what the film is trying to say.

Chloé Zhao explained they didn’t want the wedding scene to feel purely joyful. They aimed for a sense of unease, hinting at what’s to come. The moment where the groom looks at the bride was intended to be subtly unsettling, as if he’s making a statement and then anticipating a reaction.

Agnes & William’s Unique Relationship Start Had A Very Practical Reason For Hamnet’s Production

ScreenRant asked about the opening scene of Hamnet, where Agnes and Will greet each other with a left-handed handshake. The interviewer noted that awkward beginnings are common in great love stories and wondered if this was intentional. They wanted to know what that initial interaction suggested about the future of their relationship.

Jessie Buckley explained the decision to portray her character as left-handed was likely due to the camera positioning Chloe, the director, preferred. While she jokingly wished she was left-handed – she’s always admired the creativity often associated with left-handedness and felt a pang of envy towards lefties in school – she suspects it was simply a practical choice for filming.

It’s interesting how those spontaneous moments, even if they weren’t planned, can really enhance a scene. It’s like the idea that once something is created, the audience’s interpretation is what truly matters, not necessarily the original intent.

You know, as a movie fan, I totally get what Paul Mescal was saying. It’s like, giving the audience room to really connect with a film – to project their own thoughts and feelings onto it, and make it something personal for them. It’s not about telling them exactly what to think, but letting them interpret it in their own way.

I really enjoyed the way you chose your camera angles in this film, and I was particularly interested in the way you positioned your actors – the ‘blocking.’ It seems like you used a lot of fixed camera positions, and that placement really helped tell the story visually. Could you talk about your thought process when deciding how to arrange the actors and set up the scenes?

For me, filmmaking is very intuitive. I don’t consciously base my work on other films, though I was definitely inspired by ‘The Zone of Interest.’ We often used what we called ‘CCTV shots’ – a detached, observational style. A lot of the visual approach came from working with my cinematographer, Łukasz Żal, who brought great ideas to the table. I also focus on how my actors feel in a scene, and I try to experience it alongside them, physically. I stay close to the camera to gauge the energy and my own reactions. That’s how I connect with what the audience will feel, and it helps me decide things like camera distance – whether we’re too close or too far away. Ultimately, these are gut decisions.

Be sure to dive into some of our other Hamnet-related coverage with:

  • Our nine other favorite films that debuted at TIFF 2025 alongside Hamnet
  • Our guide to whether Hamnet is based on a true story
  • Chloé Zhao on the viral poster calling Hamnet the best film ever made
  • Our look at Hamnet‘s chances of being a big winner at the Oscars

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2025-12-06 02:29