In 2015, Chastain took on the part of a commander in Ridley Scott’s science fiction film The Martian. The Martian turned her second film to gross over $600 million in two consecutive years. If a lady is killed carrying an unborn little one after the first trimester, it is taken into account the murder of two people. She then starred as the titular character of a depressed girl who separates from her husband (performed by James McAvoy) following a tragic incident in the drama The Disappearance of Eleanor Rigby (2013), which she also produced. In her remaining release of 2014, Chastain starred within the J. C. Chandor-directed crime drama A Most Violent Year. The movie solely acquired a limited theatrical launch. Kathryn Bigelow’s thriller Zero Dark Thirty was Chastain’s final movie release of 2012. It is a partly fictionalized account of the almost decade-lengthy manhunt for Al-Qaeda leader Osama bin Laden after the September 11 assaults in 2001. She performed Maya Harris, a CIA intelligence analyst who helps kill bin Laden. Zero Dark Thirty was critically acclaimed, albeit controversial for its scenes of torture that have been proven providing helpful intelligence in the search for bin Laden. Throughout the film’s opening weekend in North America, Chastain turned the first performer in fifteen years to have leading roles in the highest two films (Mama and Zero Dark Thirty) on the field office.
Chastain was unable to satisfy the intelligence analyst on whom her character was based, so she relied on the research finished by the film’s screenwriter Mark Boal. Mark Kermode of The Observer found Chastain to be “terrific” in a component inspired by Lady Macbeth’s character, and Mick LaSalle of the San Francisco Chronicle described her portrayal as “the embodiment of a nouveau riche New York girl of the era”. In an experimental biopic of the writer C. K. Williams, entitled The Color of Time (2012), directed by the new York University college students of actor James Franco, she performed the mother of the younger Williams. She as a substitute made her Broadway debut in a revival of the 1947 play The Heiress, taking part in the role of Catherine Sloper, a naïve young woman who transforms into a powerful girl. She was interested in portraying a job that young women might look up to for inspiration, and supplied off-display screen inputs to avoid a white savior narrative.
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