Imogen Poots shares her experience collaborating with Kristen Stewart on Stewart’s directorial debut, The Chronology of Water, released in UK cinemas on February 6th. The film, adapted from Lidia Yuknavitch’s memoir, delves into intense themes centered on womanhood, memory, and resilience.
Poots, who stars as Yuknavitch, highlights the profound connection she developed with Stewart throughout the production, a bond essential due to the film’s emotionally demanding content.
The Story Behind The Chronology of Water
The movie is based on Yuknavitch’s memoir, a reflective and fragmented look at her turbulent youth and transformation as a competitive swimmer turned writer. Poots explains that the narrative focuses less on straightforward storytelling and more on exploring how Yuknavitch reclaims her past through writing, acknowledging her struggles with trauma and personal responsibility.
Describing Yuknavitch’s life metaphorically, Poots notes,
“was dealt these cards and had to take responsibility for the problems that other people presented her with”
. This highlights the weight of challenges the character faces, including childhood abuse and the complexities of growing into adulthood.
Building Trust Between Director and Lead Actress
Poots initially encountered Stewart after sending in an audition tape for the role. Their meeting sparked an immediate rapport, as they shared a similar approach to working and living. Poots reflects,
“We both work very, very hard but also try to live our lives at a similar pace, in a similar way”
, emphasizing the natural synergy that formed between them.
Given the film’s difficult subject matter, the collaboration required mutual respect and confidence. She notes,
“I don’t know how you would go about making this film without that level of trust and belief and, crucially, respect. I think that respect and trust go hand in hand”
, explaining that their relationship struck a rare balance where Poots felt free to act fully while Stewart directed effectively.
Elaborating on their connection, Poots adds,
“There was something about the two of us that, going about this, we knew we had this opportunity, didn’t want to squander it in any way. But also weren’t going to lose out because of that pressure. Because it is an unusual film to get to make, and it’s unfortunately unusual that a woman finally got the budget to make it. So I think all of that is how to take up space while we make the project, but also deliver it in the way that we want to without being crushed by the pressure.”
Raw and Unfiltered Exploration of the Female Body
The film’s visceral approach to depicting the female body is striking and deliberate. Opening with a powerful image of menstrual blood merging with water, it bravely showcases the full range of bodily fluids and experiences unique to women. Poots recalls a line from the film:
“I didn’t know a girl’s body could do that,”
revealing the film’s intent to educate and normalize often hidden aspects of womanhood.
Poots reflects on the symbolism, comparing it to how female nudes have historically been portrayed in art. She states,
“I think about how much mystery there has been in relation to the female body to us as women… There’s still so much research on how much happens with us, medically. This was an opportunity to wrench that open. And that’s very, very vulnerable. It’s very freeing.”
Expressing the power of physical self-awareness, she continues,
“It’s an incredibly powerful arena and realm to exist in when you are connected to your own body, and certainly throughout my life as a woman and as an actress, that hasn’t always been the case. And so when that does happen it’s so revealing, and it’s quite overwhelming – and that was something we were trying to capture.”
The Film’s Courageous Portrayal of Childbirth and Its Impact
The Chronology of Water does not shy away from the complexities of childbirth, presenting it in a manner that is honest rather than sensational. This aligns with recent discussions sparked by actress Amanda Seyfried’s remarks on audience reactions to childbirth scenes in other films. Poots addresses the cultural discomfort surrounding such depictions, stating,
“There’s so much secrecy, there’s so much shame still affiliated with the female body, as if you should be able to control these things.”
She further elaborates on audience reactions:
“In terms of the actual life of the woman, and in terms of presenting the body, it’s amazing that people will sit through a movie and watch someone have their head shot off by a shotgun, but squirm at the idea that they have to confront where they came from. It’s probably too intimidating and threatening an idea to have to contemplate for a lot of people – that you got birthed.”
Technical Choices Enhance the Film’s Intimacy
The film’s style plays a crucial role in delivering its message. Shot on celluloid, the production follows deliberate artistic choices, such as omitting a soundtrack and utilizing a carefully crafted color scheme to reinforce the narrative’s intensity.
Poots praises the cinematographer, Corey C Waters, citing their close collaboration in confined spaces to capture raw and unconventional moments. She highlights the significance of celluloid, adding,
“There’s an urgency to shooting on film that is really special… It’s a privilege to be shot on film. Because Kristen is one of the first people in my life who I really feel has seen me in a way that I then saw what she saw. And that’s very special. And that has to come from the texture of the film. It’s so alive.”
Portraying Lidia Yuknavitch’s Complex Humanity
Imogen Poots carries the film heavily through her nuanced portrayal of Lidia, spanning her teenage years into adulthood. She captures Lidia’s emotional complexities—including anger, recklessness, and vulnerability—while maintaining a fundamental sense of decency.
On Lidia’s character, Poots admits:
“I think there’s an inherent decency to her… But that’s not to say that she doesn’t f**ck up all the time.”
She was particularly moved by Lidia’s perseverance:
“I always find it really, really moving and very noble when people try their best. And she was dealt these cards and had to take responsibility for problems that other people presented her with. You know, her father abused her as a child. And she then has to live in the fact of that. How she reacts to that was very interesting to me. The abuse itself was the sort of catalyst, but how she proceeds to live her life was really interesting.”
Memory and Transformation as Narrative Themes
The film’s structure accentuates memory’s fragmented and transformative nature through visual and verbal motifs, including whispered words and notepad writings. Poots connects to this creatively, saying,
“I think that was very, very relatable – in terms of how we reframe what’s happened to us… Everything is happening to her,”
and citing the Rainer Maria Rilke quote, ‘Let everything happen to you: beauty and terror. Just keep going. No feeling is final.’
She continues,
“She’s sort of just moving through the weeds of her life, and I found that very inspiring… I think that if someone in the audience sees a character like Lidia and they recognise that feeling, it’s irrelevant what’s happened to her. It’s just the connection to ‘I’ve experienced that feeling, I’ve made that choice. I’ve made the wrong choice.’ She embodies all of these things.”
Supporting Cast Elevates the Story
Poots also praises the contributions of the supporting actors who shape Lidia’s world. She singles out Jim Belushi, portraying Ken Kesey, Lidia’s early writing mentor, and Thora Birch as Lidia’s sister Claudia, praising both as standouts.
Reflecting on Belushi’s performance, Poots recalls,
“The stuff with Jim Belushi was very special… That scene we shot on the porch when he says to her ‘what do you want to write?’ was really important for Lidia, and for me – and I know Kristen loved shooting that. And Jim just was so magical, because it was just someone taking Lidia seriously for the first time. And she’s not, hopefully, going to mess that up… It was a really cool one. It was sort of like ‘you haven’t even started yet. You’re just pushing all of this down, all of this potential in this one life.’ It was a really beautiful moment.”
She adds,
“And I loved all of my scenes with Thora Birch as well. Those were incredibly grounding. Those are some of the highlights of my career, working with Thora.”
Imogen Poots: A Diverse Career in Independent Cinema
At 36, Imogen Poots has crafted a varied career anchored in independent films spanning genres like horror, comedy, and drama. She debuted at 17 as Tammy Harris in the zombie sequel 28 Weeks Later, directed by Danny Boyle, and since then has maintained a focus on projects chosen for their artistic depth.
On her career path, Poots shares,
“I always knew I wanted to work in independent cinema.”
She remains humble about her successes and humorous in conversation, as when she responded to an observation about her prolific 2025 with a lighthearted, “Someone had it! That’s cool.”
Her recent work also includes Hedda, directed by Nia DaCosta, and the science fiction romance All of You, both of which highlight her ability to stand out within diverse roles. She admits,
“It’s actually very special when they are projects that you loved making, and then you get to watch the final film and you like it. It’s not always the case. I love all the people I made those projects with, too.”
Choosing Roles with Authenticity and Intention
When asked about her criteria for accepting roles, Poots emphasizes the importance of authenticity in her work, while recognizing practical needs. She explains,
“I do think it’s really important to remain authentic… And that’s not to say you can’t go and earn money. You have to go and earn money. But I think that there are ways of doing that, and people you can work with. I just am aware more than ever that the choices really do matter. And if you’re true with those, you’ll end up meeting with people you are actually meant to collaborate with, which is really cool.”
Looking Ahead: Taking Time and Making Thoughtful Choices
Regarding her future projects, Poots expresses a patient and deliberate approach. Avoiding the pressure to constantly work, she prefers to wait for opportunities that truly resonate with her. She outlines her outlook, saying,
“When the thing materialises that I want to do next, it’ll make sense to me… I don’t really agree with the sense of ‘right, the next 18 months, back-to-back projects, hope one of them’s a hit!’ That doesn’t really make sense to me in the way that I live my life. It’s always an unknown path ahead, which is part of the draw of all of this.”
She compares her method to how musicians create albums, asking rhetorically,
“Are you going to make albums back to back, or are you going to go away and think about what you want to say about the next one?… I think that’s quite a nice way of thinking about it.”
A Film that Challenges and Reframes Female Experience
The Chronology of Water stands out as a rare, unflinching exploration of female identity, trauma, and physicality through Kristen Stewart’s carefully crafted vision and Imogen Poots’s compelling performance. Their collaboration brings to the screen a story that confronts societal taboos, opens fresh narrative space for women’s experiences, and challenges audiences to reconsider the complexities of life, memory, and embodiment.
With its poetic storytelling, intimate visuals, and thoughtful performances, the film not only marks an important milestone in Stewart’s directorial career but also promises to influence how female narratives are portrayed in cinema going forward.
