Joey Magidson
As you watch The Chronology of Water, at no point will you notice that this is Kristen Stewart‘s debut behind the camera. If you think about it at all, it will be likely only to marvel at how accomplished and ambitious she is, right off the bat. Usually, an actor or actress turning to filmmaking will choose safe material, hoping to work within their comfort zone. Not Stewart, who takes challenging material, tackles it with abandon, and crafts a singular work out of it. This film will not be for everyone, to be fair, but those willing to be patient with it will be rewarded.
The Chronology of Water is not just a calling card for Stewart, it’s also a real coming out party for Imogen Poots, who is always good but never has been this good. The movie showcases Stewart’s writing and especially directing, while it also cements Poots as an actress with pretty outstanding chops. You won’t be able to look away, even when the flick is almost daring you to do just that, during the tougher scenes.
The film, which adapts Lidia Yuknavitch‘s memoir, takes a fragmented look at her young life, so a plot summary is both impossible and somewhat besides the point. Lidia (Poots) is coming of age in 1970s San Francisco, dealing with an abusive father (Michael Epp), remembering her older sister (Thora Birch), and generally trying to find herself. Disassociating when her father puts his hands on her, she also finds other men sexually violent, adding to the anguish of her life.
Later on, while at the University of Oregon, she’s taught by author Ken Kesey (Jim Belushi), with his words unlocking in her an ability to write about her pain. Piecing together all of her broken parts into something new, while still owning her life and her choices, will be what eventually frees Lidia of some of the bonds of trauma.
Imogen Poots is outstanding here, turning in captivating work within very challenging material. Watching Poots, through the character, attempt to make Lidia whole through sex, swimming, and everything in between is never anything less than hypnotic. What Poots and Stewart have Lidia go through isn’t always easy to watch, though you’re rewarded for being able to handle it. Stunning, truly. The supporting turns from Thora Birch and Michael Epp (alongside Susannah Flood as Lidia’s mother) are all good, they’re just in Poots’ shadow, given how towering a turn this is. Of the supporting cast, best in show is Jim Belushi, well cast here as Kesey and turning in effective work unlike anything you’ve seen from him before. Belushi is, outside of Poots, the acting highlight, without question.
Kristen Stewart impressed the hell out of me with her filmmaking. Adapting the memoir and directing, she makes The Chronology of Water all about the feelings of abuse and trauma. Anyone who has gone through something even close to what Lidia has will find the flick potentially unbearable, though you don’t have to have had that experience in order to recognize how precisely this is all executed. I might quibble with the over two hour run time, given how fragmented things get, but Stewart also absolutely aces her casting, especially with Belushi and Poots, so for whatever issue the pacing has, the performers are too good to ignore. Impressionistic and never playing it safe, Stewart should be able to tackle anything she wants next, behind the camera.
The Chronology of Water is a hard watch, no question about it. The film traffics in uncomfortable material, though it’s all in service of a larger point. It’s hard to say you enjoyed the movie when all is said and done, though it’s also nearly impossible to not be affected by it. When it comes to challenging cinema and an impactful filmmaking debut, Kristen Stewart has really accomplished something here. I can’t wait to see what she directs next.
SCORE: ★★★
Comments
Loading…