I wasn't initially planning on writing a full review for this one, but after seeing it last night I felt I was left with no choice. First premiering at the Cannes Film Festival, The Chronology of Water is the directorial debut of the great Kristen Stewart, and it absolutely floored me. I had the pleasure of TIFF running a virtual q&a with Stewart and star Imogen Poots afterwards which only cemented this as one of my favourite films of 2025.
The Chronology of Water is based on Lidia Yuknavitch's memoir of the same name, and follows her life and the way her young adulthood was shaped by the abuse she faced at the hands of her father. Far from a traditional biopic though, Stewart's debut approaches Yuknavitch's story with an intensity I wasn't expecting, throwing traditional filmmaking practices out the window to make something visually and sonically singular.
Truth be told, initially I wasn't sure how I felt about the way Stewart tackled this. The filmmaking, especially early on, is pretty erratic in a way that can be somewhat isolating and I can easily see people disconnecting from the story because of that. As it goes on though, the almost abrasive editing style perfectly fits the story and ideas being tackled. This is a story of a woman constantly self destructing through sex and drugs and bad decisions, thanks largely to having her autonomy stripped from her at a young age. There's an anger and sadness behind everything on screen, and you can feel that even if Stewart or Poots didn't have the exact same experiences as Yuknavitch that there are universalities to having that sense of autonomy taken away as young women. The experimental way Stewart tells this story will definitely not be for everyone, but I was in complete shock by the no holds barred way she tackled everything from abuse to pleasure to the self destruction that litters itself through the film.
For something so unique and somewhat experimental I was wowed by how fast this flew by. Part of that is likely the intensity of Stewart's filmmaking, but for a film clocking in at over two hours I didn't feel the runtime nearly as much as I expected. For all of the aggressive, frantic editing, Stewart is also unafraid of getting close with the camera. The cinematography as a whole is filled with fascinating imagery, but the way Stewart and DP Corey C. Walters let the camera linger close on intimate moments worked wonders in connecting with the central character. That closeness can also add to the discomfort of some moments, as this is a deeply sexual film and lingers in moments that another filmmaker may not have the guts to. I also must mention the score, as it's almost ethereal nature gives many moments a dreamlike quality that make it feel like we're experiencing the fragmented memory of someone battling their past.
Lastly, I have to shoutout Imogen Poots for her incredible work here. The ensemble cast is good but Poots is really carrying this from an acting standpoint and this may be the best I've ever seen her. This is such a brave performance, as she is forced to put herself through the ringer both physically and emotionally, not to mention perform countless scenes of almost visceral sexuality. Watching her constantly damage her own life is frustrating, but it almost becomes more sad than anything else since we know the context behind her actions and Poots beautifully portrays the simmering trauma that plagues Lidia. There's such a wide gamut of emotions on display and Poots delivers in each and every frame she's on screen.
Now despite all the praise I've shone, this is far from a movie I'd recommend to everyone. The abrasiveness with which Stewart tackles very sensitive subjects will absolutely not be for everyone. That being said, I could not be more impressed with her vision here. In a year where we've seen directorial debuts like Scarlett Johansson's Eleanor the Great where you can't see much of the artist, you can clearly see Stewart's vision as a filmmaker despite this being her first time behind the camera. It's a bold and brash debut that hasn't left my mind since I saw it, and I truly can't wait to see where Stewart goes next as a filmmaker. 4.5/5
Comments
Post a Comment