Kristen Stewart’s ‘The Chronology of Water’ Stays Too Close to the Surface
For her feature directorial debut, the actor Kristen Stewart has chosen to adapt a tough, lyrical memoir about a woman trying to out-swim a traumatic childhood and addiction. In The Chronology of Water, the writer Lidia Yuknavitch details the sexual abuse she experienced at the hands of her father and its long aftermath, from a scuttled competitive swimming career to new purpose found, years later, in writing. It’s a difficult piece, but Stewart has shown in her acting work that she’s a fan of daunting tasks. The film, which premiered here at the Cannes Film Festival on May 16, is no timid first foray into filmmaking. Stewart dives in full-body, keeping things ever in rapid motion—flickering forward and backward in time, ratcheting up high emotion and then suddenly breaking into a moment of dreamy peace. The effort is appreciated, even if all that style—however true it is to Yuknavitch’s prose—can sometimes overwhelm the meaning behind it. Imogen Poots plays a version of Yuknavitch, from adolescence on. A promising freestyle swimmer with prospects of college recruitment, …