In the cinematic landscape, she is an artist apart. A free woman, free from the gaze of others. A privileged collaborator of Olivier Assayas , the first American to win the César for Best Actress, Kristen Stewart is now making a remarkable debut behind the camera. In The Chronology of Water (currently in theaters), she adapts the memoirs of writer Lidia Yuknavitch , published by Editions 10/18, with the support of Chanel . The American author and former swimmer discusses the family abuse she suffered as a child, as well as her journey towards writing. How to find her way? This question also haunts Kristen Stewart, whose mind seems to be filled with a thousand ideas per second.
On the occasion of her appearance at the Deauville American Film Festival, where she left with the Revelation Award, we discussed the genesis of the film, her influences and the directors she admires. No doubt, a filmmaker is born.
As a self-taught filmmaker, what were your points of reference when designing the film's aesthetic?
To enter Lidia's world, I wanted to first adopt a first-person perspective, a bit like Being John Malkovich . Then, as the character reaches adulthood, I wanted to take a broader, more objective look at the world.
Once on set, do you let yourself be surprised by the unexpected? Or is everything written and you follow your plan for the day to the letter?
Generally speaking, I set out to write a very detailed script, while allowing myself to be surprised. Seeing the set, the actors' performances, the defined images changed. For example, the house we were shooting in had mold in a corner. Instead of looking at the pouring rain, as was written in the script, Lidia looks up and observes this trace of humidity. And then, it brings back a memory. These are not accidents. We were constantly looking for visual associations, flashes that transport her twenty years back, then abruptly bring her back to the present. Playing with the notion of time reminds us that memories, whether audio or physical, are constantly with us. They make us who we are, whether or not we manage to metabolize them and get something more positive out of them. I didn't want the film to be plot-driven, but rather to feel like a collection of memories.
You say that art saves lives. Do you think creativity most often comes from suffering?
Yes, I think the best art comes from suffering, or at least from a sense of necessity. But extreme joy can also push you to write a poem, immortalize an image, or express yourself. Our film is as if joy and sadness are holding hands. Without one, you don't have the other. You feel intense happiness because you know how painful life can be. You sometimes cry when you realize that everything is fleeting.
Your film is about transformation. How is the Kristen Stewart of today different from the one who presented her film at the Cannes Film Festival last May?
In the meantime, I was able to finish the edit. At Cannes, we weren't quite ready yet. The film was adolescent, much more instinctive and honest. It was nice to go home and finish it. It's like dressing your child and sending them to kindergarten. They have a nice outfit, a nice haircut, their notebooks in their backpack. And you are proud of them. Today, I feel like I've directed the film I really wanted to make. It won't appeal to everyone. It's not linear. It's openly feminist when you think about it, but at the same time, it's a story that requires the engagement of men. We don't want to just look at each other, into the void. I want to be visible to everyone.
Do you think men should be included in these feminist discussions?
Yes. Lidia loves the men in her life. Ken Kesey , her writing teacher, truly embodies a father figure. She finds a family in the film and some very beautiful male relationships that ultimately save her. For years, she rejects all signs of kindness and tenderness, before finding a stereotypical ending: a husband, a son, a house with a white picket fence. The little scribbles in her notebook, these little secret stories, she agrees to reveal them. She finally feels fulfilled.
The Chronology of Water is the kind of singular work that you rarely see in Hollywood . Have you ever seen a movie and said to yourself, "I can't believe it exists"?
Barbie , one of my favorite movies. I was really surprised that Greta pulled it off, in front of a gigantic company like Mattel. No matter what you think, there are some really good ideas in the feature film and a real joy at the end. She took the very reason for Barbie's success and completely destroyed it. All with the complicity of the company that markets her. I admire her for managing to navigate this capitalist world on a massive scale without ever sacrificing her intended story. Her jokes have societal resonance, but they're still funny and entertaining. I was in shock. I really thought, "How could she do that?"
How have your experiences as an actress, good or bad, influenced the way you direct?
On set, you have to create a bubble for yourself. That doesn't mean we all have to have the same opinions, but just live together. Also, you don't talk to all your friends the same way, do you? Same with actors. There are people you can be very objective and really analytical with; those who are more witty; or those you shouldn't talk to. I've learned to control myself and not be in everyone's way all the time. It's like you let things fall into place and let people figure it out for themselves. You have to let them follow their instincts rather than impose yours on them, especially as an actress. Sometimes I'd see someone acting and think, "I'd rather do it like that." I've learned to put my expectations aside and let the discovery guide me.
So it's a matter of patience above all...
Absolutely. Sometimes you have to put pressure on because you don't have time. It's now or never. The best solution, if the person can handle it? A good kick in the butt to move forward. There's no better feeling than seeing someone finally reach the top of the mountain.
You thank Sofia Coppola in the end credits of The Chronology of Water , why?
Several years ago, she took a look at my script. She never does that, it was a real gesture of friendship. At that time, I was having a lot of trouble finding financing. In the end, it took me seven years to get it. Instead of urging me to give up, she basically said to me: "I understand why you're having so much trouble, but you should really trust your instincts." She gave me some very good advice on voiceover, and above all reminded me that I had all the keys to succeed.
You both have one thing in common: a style that was clearly defined from the first film.
Yes, and hers has developed over the years. It suits her perfectly. I love her films. She knows how to create a particular atmosphere like no one else. I like that she returns to her obsessions, that she delights in the images, letting them give us an emotion. The Virgin Suicides is one of the first films I loved when I was little. Kirsten Dunst is the coolest girl in the world. Somewhere is also one of my favorites.
You recently said in an interview that critics hadn't been hard enough on you. Why such a reaction?
I was surprised by the good reception at Cannes. But we were at a festival, in France. It wasn't a typical international audience. When I bring this film back to the States, people will probably think it's completely out of order and too long. I may be wrong, but I was expecting a slightly more mixed reaction, simply because I'm tackling some pretty difficult subjects. You wish Lidia would learn faster, or the world around her would understand more quickly how wonderful she is. Watching her turn down good things, like seeing her say no to positive things, is frustrating. It's such a feminine experience to think, "I don't deserve this." I expected this fragmentation, this up-and-down success story, to frustrate people and make them leave the theater, but it doesn't. Ultimately, this isn't a film about Lidia Yuknavitch, the author of the book, but rather about how her story is rewritten. So we had to shoot a lot, create real memories, and assemble them. We were faithful to every impulse and instinct, without thinking about how others would see us.
The Chronology of Water , by Kristen Stewart, in [French] theaters October 15.
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