Chloé Zhao Defends Comic Book Movies Despite ‘Eternals’ Box Office Struggles

Superhero cinema has faced a challenging road in recent years, striving for critical recognition. Esteemed filmmakers have often debated whether comic book adaptations truly qualify as art. Martin Scorsese ignited this discussion years ago by likening Marvel films to theme parks rather than cinema, a sentiment that continues to influence industry conversations about the genre.

Chloé Zhao, whose career spans from deeply personal indie dramas to major studio blockbusters, has been at the center of this ongoing debate. After winning an Academy Award for directing ‘Nomadland,’ she quickly transitioned to Marvel Studios’ ‘Eternals,’ a move that drew scrutiny from critics questioning how these two projects could emerge from the same creative mind.

Now, Zhao is directly addressing that narrative. During a masterclass at the Venice Film Festival, she emphasized the importance of not dismissing stories simply because they aren’t deemed high art, as reported by Variety.

Zhao elaborated on her storytelling philosophy, stating her aim as a filmmaker is to create vessels that help audiences process their experiences. She highlighted the effectiveness of archetypes, which have consistently appeared in myths throughout history, as evidence of shared human experiences.

Zhao went further in her defense of the genre. When a moderator suggested that her work on ‘Nomadland’ and ‘Eternals’ represented opposite ends of filmmaking, she rejected this notion, arguing that both stories focus on individuals in nature navigating complex relationships with their surroundings.

This comparison reflects a recurring theme in Zhao’s career, despite the varying scales and budgets of her projects. Although ‘Eternals’ did not meet box office expectations, grossing around $400 million globally against a budget exceeding $200 million, Zhao expressed her genuine love for directing the film, describing it as a dream come true for someone who grew up adoring anime and comics.

Zhao also shared during the masterclass that she once aspired to be a manga artist before pursuing filmmaking, admitting that her drawing skills weren’t sufficient for a professional career. She noted that storytelling has always been her true passion, leading her to cinema after years of working as a bartender while feeling creatively adrift.

Zhao’s remarks come at a time when the superhero genre has cooled significantly compared to its pre-pandemic peak, making her strong defense of the format particularly noteworthy given the current industry landscape. Her advocacy for comic book storytelling, despite her mixed commercial experience within the genre, lends credibility to her argument, which is often absent from filmmakers who have never engaged in franchise filmmaking.

Zhao’s comments also ventured into more personal territory, as she reflected on whether her constant work behind the camera has caused her to miss out on experiencing life directly rather than merely capturing it on screen. This introspection provided a rare insight into how she is navigating her career trajectory while continuing to champion the value of populist storytelling.

Whether Zhao’s insights will influence the broader critical discourse surrounding superhero films remains uncertain, but her perspective is particularly significant given her unique position straddling both prestigious filmmaking and blockbuster franchises. Few directors have transitioned between these two realms as visibly as she has in recent years.

As franchise filmmaking continues to face scrutiny from critics and prestigious directors alike, Zhao’s defense serves as a notable counterpoint from someone who has genuinely operated on both sides of that divide.

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