Film Review – The Chronology of Water (2025)

      The Chronology of Water, 2025.

      Written and Directed by Kristen Stewart.

      Featuring Imogen Poots, Thora Birch, Charlie Carrick, Tom Sturridge, Susannah Flood, Esme Allen, Kim Gordon, Michael Epp, Jim Belushi, Earl Cave, Jeremy Ang Jones, Hal Weaver, Eleanor Hahn, Anna Wittowsky, Georgie Dettmer, and Marlēna Sniega.

      SYNOPSIS:

      Amid loss, love, and self-discovery, a woman channels her pain into art, crafting a life on her own terms.

      Discussing writer/director Kristen Stewart’s directorial debut, The Chronology of Water, in a conventional review format would not only undermine the ambitious, hypnotic experimental artistry presented but also its very essence.

      Edited with chaotic precision by Olivia Neergaard-Holm, the film opens with a barrage of images and sounds that lead viewers to question if everything is functioning correctly, only to reveal through its grainy 16mm presentation that it resembles a memory more than a linear narrative. Like memories, the scenes often carry a misty quality, with timelines and moments intertwining, enhanced visually through striking transitions and dissolves (with the work of cinematographer Corey C. Waters). Accompanied by music from Paris Hurley that aligns with the quieter, reflective, and meditative aspects of the fragmented filmmaking—which can suddenly shift to loudness—Kristen Stewart employs every available tool to create an emotional, sensory experience.

      These memories belong to Lidia Yuknavitch (based on her memoir and portrayed by Imogen Poots), an aspiring swimmer from a broken home under the control of an abusive father (Michael Epp), left alone after her mother’s overdose and her sister’s (played as an adult by Thora Birch) escape for survival. With few exceptions, Stewart’s film does not focus on graphic traumatic imagery but rather on how these memories are often obscured by a haze. This sensitive approach to heavy themes is more compelling and emotionally resonant than typical handheld storytelling. Naturally, Lidia eventually gains her autonomy, standing up to her father and beginning to truly experience life.

      Divided into five chapters, each spotlighting a different key moment or individual in Lidia’s life, Stewart employs similar cinematic techniques to explore familiar topics, such as struggles with addiction, unfulfilled dreams, passionate yet sometimes tumultuous romances (including an exploration of sexual identity), depression, profound loss, alongside more uplifting elements like a mentorship with a renowned writer (played by Jim Belushi). The frequent overlays and cuts illustrate that even joyful memories are often intertwined with sorrow.

      This also allows both Kristen Stewart and Imogen Poots (who delivers a raw and fearless performance) to convey competing emotions within the same segment. It portrays a candid depiction of trauma and life's journey, with memories and images colliding. The film also highlights the human body and its various fluids, with water serving as a central metaphor.

      Part of this calm narrative includes Lidia reflecting on how patterns and repetitions arise in water (especially in relation to her relationships), mirroring life itself. Unfortunately, this repetition occasionally affects the film’s pacing, with the latter half struggling to maintain viewer engagement like the first hour. Nonetheless, the recited poetry, presumably drawn from Lidia Yuknavitch's writings, ties the fragmented storytelling into a fluid and cohesive experience. For those familiar with Kristen Stewart’s post-mainstream acting career, The Chronology of Water is the audacious and innovative work one might anticipate from her directorial efforts. The fact that it is her debut is undeniably impressive.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder