After working with Olivier Assayas, David Fincher, Kelly Reichardt, David Cronenberg, and more, Kristen Stewart has helmed one of the most formally impressive directorial debuts of the year with The Chronology of Water. A fragmented portrait of a life, based on Lidia Yuknavitch’s memoir, the cast includes Imogen Poots, Thora Birch, Susannah Flood, Tom Sturridge, Kim Gordon, Michael Epp, Jim Belushi. Picked up by The Forge for a one-week qualifying run beginning December 5 at NYC’s Village East and LA’s Laemmle Royal, followed by a wide release on January 9, the first trailer and poster have now arrived.
Here’s the synopsis: “Based on the beloved memoir by Lidia Yuknavitch and marking the directorial debut of Kristen Stewart, THE CHRONOLOGY OF WATER is a raw and unflinching portrait of survival, sexuality, and self-invention. The film traces Lidia’s life from her earliest memories in the Pacific Northwest, as a promising swimmer, through fractured relationships, near-motherhood, addiction, and encounters with artistic heroes. Told as a fluid memory wash, the story transforms trauma into art, embodying Yuknavitch’s defiant voice that made her work a modern cult classic. It is not only a chronicle of a woman becoming a writer, but a visceral journey through the wreckage and resilience of a life lived against the grain.”
Savina Petkova said in her review, The Chronology of Water remains very faithful to its text, expanding the five-act structure and first-person narration into a textured, 16mm film-sanctuary where everything, once narrated, is safe forever. Cinematographer Corey C. Waters, in his biggest project so far, frequently uses extreme close-ups in static takes and cross-cut with others to show Lidia’s (Imogen Poots) body in fragments, matching the way she denies herself the wholeness of a person. A montage of significant images flash through at the film’s beginning––blood washed down the drain, pebbles placed on baby clothes, a pregnant woman’s stomach––as those gigantic close-ups fill the screen in their graininess; a crackling sound and mute pauses make room for an ambient score that drowns in the image. This is subjective cinema par excellence.
See the trailer and poster below.
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