The Chronology of Water (2025)
Trauma and abuse are two of the most complex and damaging forces to exist within the human experience, often hiding and morphing in ways unknown to the victim. For many, these forces create journeys of discovery and healing that can last a lifetime. As with any form of art, it makes sense that cinema would become a place for these stories to be expressed and explored. Whether purposefully or subconsciously, echoes of trauma and abuse have made their way into every corner of cinema, both as a force of poignant purpose and a destructive mess. Screening as part of AFI Fest 2025, Kristen Stewart's The Chronology of Water adapts Lidia Yuknavitch's memoir of the same name, following their life through the sexual abuse they faced as a child (Anna Wittowsky) at the hands of their father and the turbulent aftermath that led to trials of suffering and turbulence throughout their life as a growing adult (Imogen Poots).
Coming as Stewart’s debut feature, it is easy to grow concerned about her ambition, as The Chronology of Water is far from an easy or simple project. Not only are the events and emotions at the center of the film of an unspeakable weight and horror, but the film spans decades, building a complex portrait of anger and hurt in a way that could prove impossible for even the most skilled and experienced of directors to get right. Marvelously, Stewart rises to the challenge with not a single shadow of doubt or struggle. Exuding confidence and authorship, Stewart crafts a flawless feature that always knows exactly what it is intending and how to hold itself together.
The film is often presented as a kaleidoscope of memories and emotions. Artistic collages of the senses are stitched together with whispering thoughts and feelings. While this cinematic voice is imaginative, the film always remains pointed and effective. This flashiness never interrupts or muddies the picture. This style of storytelling brings to life the emotions and fractured memories of trauma in a way that is incredibly authentic and moving, immediately becoming one of the most realistic captures of the topic seen in film. The feature is complex in its analysis of pain, showing how trauma can linger in the body and soul long after the abuse takes place. Stewart captures the small moments when it appears, when the body remembers what has happened to it. As a filmmaker, Stewart nails each of these moments, and the vulnerability of Yuknavitch's writing helps direct the feature. It is hard not to get emotional at the idea of just how many will go to the theater to see this film and feel seen in their isolation and suffering, seeing that there is a path forward with the acknowledgment of just how much of a struggle it can be.
It is far from an exaggeration to say that Imogen Poots is a revelation as a lead performer for the film. While Poots is far from being a new actor, she has never had the substance and chance to command the screen as she does here. Bringing to life the flaws and folds of Yuknavitch, the performance is one that demands empathy and understanding without ever ignoring those whom she has hurt along the way. Poots loses herself in this role in the best of ways, truly becoming unrecognizable as she brings this layered figure to life, giving what is likely the best performance of the year.
While a massive trigger warning is needed for anyone going to see the film who might be affected by depictions of abuse or violence, The Chronology of Water is unlike any other movie of 2025. Stewart immediately proves herself to be just as talented a filmmaker as she is an actor, bringing a confidence and vision to the film that is masterful in control and craft. Many will not vibe with the whispery dreamlike storytelling of the film, and even more are sure to be uncomfortable with the subject matter on display and the suffering present within the feature, but for those who can stomach it, The Chronology of Water is a masterpiece. Authentic, harrowing, mature, and deeply powerful, the film is a haunting yet empowering text of finding a way to live with trauma and overcome addiction.
Coming as Stewart’s debut feature, it is easy to grow concerned about her ambition, as The Chronology of Water is far from an easy or simple project. Not only are the events and emotions at the center of the film of an unspeakable weight and horror, but the film spans decades, building a complex portrait of anger and hurt in a way that could prove impossible for even the most skilled and experienced of directors to get right. Marvelously, Stewart rises to the challenge with not a single shadow of doubt or struggle. Exuding confidence and authorship, Stewart crafts a flawless feature that always knows exactly what it is intending and how to hold itself together.
The film is often presented as a kaleidoscope of memories and emotions. Artistic collages of the senses are stitched together with whispering thoughts and feelings. While this cinematic voice is imaginative, the film always remains pointed and effective. This flashiness never interrupts or muddies the picture. This style of storytelling brings to life the emotions and fractured memories of trauma in a way that is incredibly authentic and moving, immediately becoming one of the most realistic captures of the topic seen in film. The feature is complex in its analysis of pain, showing how trauma can linger in the body and soul long after the abuse takes place. Stewart captures the small moments when it appears, when the body remembers what has happened to it. As a filmmaker, Stewart nails each of these moments, and the vulnerability of Yuknavitch's writing helps direct the feature. It is hard not to get emotional at the idea of just how many will go to the theater to see this film and feel seen in their isolation and suffering, seeing that there is a path forward with the acknowledgment of just how much of a struggle it can be.
It is far from an exaggeration to say that Imogen Poots is a revelation as a lead performer for the film. While Poots is far from being a new actor, she has never had the substance and chance to command the screen as she does here. Bringing to life the flaws and folds of Yuknavitch, the performance is one that demands empathy and understanding without ever ignoring those whom she has hurt along the way. Poots loses herself in this role in the best of ways, truly becoming unrecognizable as she brings this layered figure to life, giving what is likely the best performance of the year.
While a massive trigger warning is needed for anyone going to see the film who might be affected by depictions of abuse or violence, The Chronology of Water is unlike any other movie of 2025. Stewart immediately proves herself to be just as talented a filmmaker as she is an actor, bringing a confidence and vision to the film that is masterful in control and craft. Many will not vibe with the whispery dreamlike storytelling of the film, and even more are sure to be uncomfortable with the subject matter on display and the suffering present within the feature, but for those who can stomach it, The Chronology of Water is a masterpiece. Authentic, harrowing, mature, and deeply powerful, the film is a haunting yet empowering text of finding a way to live with trauma and overcome addiction.