The Chronology of Water (2024) – Review

Director: Kristen Stewart
Cast: Imogen Poots, Thora Birch, Jim Belushi
Certificate: 18

By Sarah Morgan

When she first became a household name due to her appearances as Bella Swan in the Twilight Saga film franchise, few would have anticipated that Kristen Stewart would go on to become an arthouse darling. And even fewer, one imagines, could have guessed she’d be a skilled writer and director.

However, The Chronology of Water proves she can more than hold her own in all three categories – it’s an incredibly impressive piece of work, but it is, by no means, easy viewing.

Rather than take the lead role herself, Stewart signed Imogen Poots to play Lidia Yuknavitch in a movie based on the author’s memoir. It follows her from childhood to her forties, paying particular attention to the years in which she struggled to deal with the aftermath of years of abuse, both physical and mental, she endured at the hands of her father.

“Pulls no punches”

But this is no “oh woe is me” story. It pulls no punches in depicting how the trauma turned her into a damaged young woman capable of hurting those around her while also revealing how she eventually managed to channel her self-destructive streak into her writing, first via the mentorship of Ken ‘One Flew Over the Cuckoo’s Nest’ Kesey, and then alone.

British actress Poots delivers a pitch-perfect American accent here, and you can see why she would have been attracted to the role – it must have been hugely challenging to play, pushing her skills to the limit. The result is a gripping performance; you cannot take your eyes off her, although there are times, amidst Lidia’s deepest, darkest scenes, that you might wish you could.

Stewart should also be applauded for assembling an equally wonderful supporting cast that includes Earl Cave, Thora Birch, Esme Creed-Miles and Tom Sturridge, as well as Jim Belushi. The latter is wonderful as Kesey; he appears to be having a golden career moment if this and his eye-catching appearance in Song Sung Blue are anything to go by.

“Impressive”

Stewart’s screenplay is impressive too, as is her direction. She opts for an often bleached look to certain scenes that make them appear as if they have been shot on film stock from the 1970s and 1980s, the decades in which they were set, and seem to mirror the often addled mind of the main protagonist. Unusual angles and glimpses of memories also offer insights into Lidia’s mental health.

Having waxed lyrical about the skill involved in the production, I have to temper it somewhat by admitting that although I’m pleased to have seen it, I don’t think I ever want to see The Chronology of Water again – it is almost relentlessly downbeat and uncomfortable to watch. Certainly don’t view it if you’re feeling in any way vulnerable yourself. However, I look forward to seeing whatever Stewart gets up to behind the camera next.

Sarah Morgan( Writer )

Sarah Morgan studied film journalism at post-graduate level with the BFI and has been writing about TV and film for PA Media’s newspaper, magazine and new media customers since 1996. She’s also written for a wide range of other publications, both online and in print, including the book Offbeat and Intermission magazine, and is a regular contributor to the Talking Pictures TV podcast. When she isn’t watching movies, she’s collecting and reading vintage crime and horror paperback books or, for her sins, watching her beloved Sheffield Wednesday.

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