Chloé Zhao was the second woman to ever win an Oscar for Best Director, for her 2020 film “<a href="https://www.newyorker.com/culture/the-front-row/nomadland-reviewed-chloe-zhaos-nostalgic-portrait-of-itinerant-america">Nomadland</a>.” After taking a wide turn to create the Marvel supernatural epic “<a href="https://www.newyorker.com/culture/the-front-row/eternals-reviewed-chloe-zhaos-lifeless-marvel-movie">Eternals</a>,” Zhao has taken another intriguing change of direction with “<a href="https://www.newyorker.com/magazine/2025/12/01/hamnet-movie-review">Hamnet</a>,” based on Maggie O’Farrell’s <a href="https://www.amazon.com/dp/1984898876">novel</a> about how William Shakespeare coped with the death of his only son. In conversation with the New Yorker staff writer <a href="https://www.newyorker.com/contributors/michael-schulman">Michael Schulman</a>, Zhao discusses the role that nature plays in her filmmaking, from the American West to the forests of Britain; the process of adapting manga to film; and how neurodivergence informs her creative process.New episodes of The New Yorker Radio Hour drop every Tuesday and Friday. Join host David Remnick as he discusses the latest in politics, news, and current events in conversation with political leaders, newsmakers, innovators, New Yorker staff writers, authors, actors, and musicians.

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Chloé Zhao on “Hamnet,” Her Film About William Shakespeare’s Grief

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