The Chronology of Water Review
Based on a 2011 memoir of the same name, The Chronology of Water marks Kristen Stewart’s exciting directorial debut. The book narrates Lidia’s life in her own words from her childhood in an abusive household. The audience gets to see her escape this through her college experience in Texas on a swimming scholarship as we witness her fading dreams of a swimming career and the Olympics due to her substance abuse. As the film goes on, Lidia advances in her writing career and eventually finds her identity.
Imogen Poots as Lidia particularly stands out as the highlight of this film with her raw and unfiltered performance that truly immerses us in the emotions the character is experiencing. This is especially important in this film as it is her feelings that drive the movie, not the narrative, and they quickly become our way into the story. From its beginning, The Chronology of Water is a hard watch; many scenes succeed in making the audience uncomfortable by forcing us to witness something we are not supposed to see and should have never have happened to the protagonist.
From the very first shot of this film, the audience is immediately introduced to the non-linear storytelling. Not only does the narrative not move chronologically, but it often jumps from one scene to another without much cohesion or warning. This is very fascinating, but can at times stop the audience from entirely connecting with the story emotionally as we are so busy trying to piece it together rationally. The fragmented style doesn’t always work and almost seems to push the boundaries of traditional storytelling just for the sake of it rather than for a particular narrative reason or deeper need.
At the beginning of the film, the voiceover introduces us not only to the non-linear storytelling that will accompany us throughout the film, but also to water as a motif. Water is used as a metaphor for rebirth, and lack thereof as her attempts to reinvent her life are hindered by her traumatic past and substance abuse. While this may not be unique or groundbreaking as a metaphor, the way water is often brough back in the film both visually and narratively is fascinating. It also manages to give us some structure in a very fragmented and perhaps even confusing picture of Lidia’s life until she eventually manages to emerge from the water as a new person and succeed despite all of her struggles.
However, I wish the audience had seen more of Lidia’s final arc. Instead, we only catch a glimpse of Lidia’s life as a university teacher, mother, and writer. The film seems solely interested in her struggle and chaos, so much so that it forgets to show the resolution of its own story. After witnessing all the abuse she had to face and hearing it in her own words during the course of the film, it would have been very meaningful to spend some time on Lidia’s life as an accomplished woman, teacher, author, and mother as the viewers will have grown to be quite attached by this point.
Overall, The Chronology of Water certainly is a unique and memorable film thanks to its fragmented style and impressive central performance, but it is definitely a hard watch and a film that will not appeal to everyone in the audience due to its strong themes and its irregular storytelling.
★★★1/2
In UK cinemas from February 06th/ Imogen Poots, Thora Birch, Sunsannah Flood, Jim Belushi, Esme Creed-Miles / Dir: Kristen Stewart/BFI/ 18
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