The Chronology of Water
Dustin Chase
Kristen Stewart is unconventionally talented. From franchises like “Charlie’s Angels” and “Twilight” to indie flicks such as “Spencer” and “Loves Lies Bleeding.” The Oscar-nominated actress makes her directorial debut with “The Chronology of Water”, a respectable yet frustrating first effort. Co-screenwriter Stewart and author Lidia Yuknavitch adapt the book into a film that couldn’t be less commercial. Led by a demanding performance from Imogen Poots (“Hedda”) and an eclectic cast that includes Jim Belushi, “The Chronology of Water” is an endurance test for those willing to swim laps with Stewart.
The main character, Lidia Yuknavitch (Poots), explains that we are not starting from the beginning. Throughout her fragmented story, we learn of the mental, emotional, and sexual abuse Lidia and her sister Claudia (Thora Birch) endured at the hands of their father (Michael Epp). Lidia found solace in swimming, which led to partial scholarships or an exit from the abusive household. Their mother (Susannah Flood) turned a blind eye to the abuse, likely coping with her own, as she cowers from her husband. Unable to escape the trauma, Lidia’s college and adult life spiral out of control with men, pregnancies, and addictions. It’s in her writing that she discovers a coping mechanism.
Stewart might not appear on camera, but her style, attitudes, and energy are present in every scene.
The film throws the viewer into the deep end of the pool with frenetic editing and frenzied storytelling that’s visually off-putting. Eventually, between chapters one and two, things settle and come into focus. Stewart might not appear on camera, but her style, attitudes, and energy are present in every scene. Rarely is there a happy moment to be found; you must want to sit through this film to finish. The conversations within the film are as compelling and off-center as the awkward interviews Stewart has given over the years. Her choices and style of direction here don’t make the subject matter any easier.
By the time Belushi appears on screen, it’s a much-needed breath of fresh air after treading muddy water for so long. Belushi portrays one of Lidia’s only mentors up to that point, a champion of both her writing and progress as an abuse victim. It’s sort of a Bill Murray-esque performance. Stewart bares down on the viewer with relentless body fluid imagery throughout the two-hour film. A product of her abuse, adult Lidia passes on her resentment in life to others, mainly her docile college husband (Earl Cave). Stewart conveys Lidia’s unpleasant circumstances to the audience via grotesque close-ups and numbing sounds for an overall undesirable experience.
Final Thought
Kristen Stewart’s Avant-garde approach in her directorial debut is quite the unpleasant viewing experience.