这篇2026年4月17日的Bloomberg访谈中，Riz Ahmed谈到新片《Hamlet》在美国院线上映，认为这部400年前的剧作比以往更切合现实。他把主角失去父亲并质疑秩序正义的悲痛，对应到当前社会对公平与制度信任的大幅下滑，甚至认为二战后建立的多边框架正在瓦解。他指出新闻日常持续放大一种震惊与失落，并用「gaslit」形容当代：人们被告知「一切正常」，却同时面对新式不公。

Ahmed回忆17岁时就在老师Mr. Roseblade鼓励下开始构想《Hamlet》，因为感到自己作为校内「局外人」的经验与哈姆雷特相似。其英亚身份让他看到更多对应面，于是将对白加入Hindi、放入英国-亚洲家庭语境，以「具体真实」替代抽象同感。对他而言，著名的“To be, or not to be”应被理解为对抗压迫的外向式宣言，不是单纯自杀辩证。影片拍摄时，他们甚至用BMW以100英里/小时（约160.9公里/小时）冲向货车，并将一段常见约5分钟的戏段缩短为2分40秒，以迫使表演更接近极限。

在《Bait》中，Ahmed将James Bond等经典原型拆解得更具脆弱性，用个人创伤素材加强真实感：角色在伦敦音乐场地发生惊恐发作、在Wembley公园遭袭击、被安全部门邀请合作等情节，都与他自身经历对照。他将文化视为循环：包容与倒退交替出现，但叙事工具正在去门槛化。虽然新的演算法式把关可能再次集中权力，普通人仍能用手机获得可观受众。作为跨文化身份的延续，他提到The Good Immigrant 10周年；他不把「promised land」当终点，而是将其视为持续建构的工作，透过acting、writing、producing和音乐讲故事；他提及与Tom Cruise和Alejandro Iñárritu合作的Digger，以及Sky上的SNL UK已于3月21日首播。

In this Bloomberg interview on April 17, 2026, Riz Ahmed argues that his new film Hamlet, now in U.S. cinemas, feels more relevant than ever despite being over 400 years old. He links Hamlet’s grief over lost fairness to today’s public mood: people sense a collapse of justice and accountability, from World War II–era multilateral systems to current politics. He says the news cycle confirms this emotional shock and confusion, and he repeatedly claims that society is being gaslit into accepting injustice as normal.

Ahmed traces the film to a formative moment when he was about 17 and inspired by his teacher Mr Roseblade, whose outsider view of Shakespeare matched his own experience in a private school and his British-Asian identity. He says adding Hindi and a British-Asian family frame makes the adaptation more specific and vivid, not less accessible. He also reinterprets the “To be, or not to be” passage as resistance, not merely self-destruction. The production staged it as a high-intensity sequence: Hamlet drives a BMW at 100 miles per hour (about 160.9 km/h) toward a lorry, condensing a speech usually around five minutes into about two minutes and forty seconds.

In Bait he similarly repurposes the James Bond archetype, arguing these figures become armor unless made vulnerable. He says parts of the plot mirror his own life—panic in a London venue, an assault in Wembley park, and repeated security-service approaches—making performance feel authentic. He describes culture as cyclical, with inclusion and backlash alternating, while narrative power is partly democratized by easier digital production and distribution, though algorithmic concentration remains a new gatekeeper. Ahmed cites the 10-year-old The Good Immigrant and views the promised land not as a final destination but as ongoing work through acting, writing, producing, and music, while noting Digger with Tom Cruise and Alejandro Iñárritu, and that SNL UK premiered on March 21.