Video: Kristen and Woody Harrelson talk 'Full Phil' and more with Deadline at Cannes

 

In Quentin Dupieux’s Full Phil, Kristen Stewart had to a eat a lot on screen — without a spit bucket.

In an interview for Deadline’s Cannes studio, Stewart said, “I only puked once. It was when they had filled this cauliflower mash with butter and they were like, ‘There’s no butter. It’s all vegetal oil.’ And I was like, ‘Vegetal oil?’ Woody’s vegan and I was like, ‘You can smell the butter.'”

“I’d have had a spit bucket,” co-star Woody Harrelson said. “I wouldn’t care.”

In Full Phil, Harrelson and Stewart are a father and daughter who’ve taken a trip to Paris in an attempt to reconnect. As his daughter consumes more and more delectable food from room service and a dinner at a restaurant, Phil finds himself in a symbiotic nightmare, feeling the effects of everything she eats and drinks.

“They had a very talented and willful French man making the food,” Stewart explained. “Our process means that I have to eat all day long. They wanted it to taste really good and reflect the French cuisine. And I was like, ‘I’m going to die. I’m not supposed to actually perish.'”

However, she embraced the challenge in terms of how it informed her process. “The eating’s cool because it’s nice to have obstacles,” she said, “like kind of hurdles that you don’t think about when you’re running lines… It’s a metaphor. It’s very symbolic. She’s a voracious bottomless pit, eating her feelings.”

Dupieux said he was inspired by the fact he himself has an 11 year-old daughter. “She’s quite someone, ” he said. “But it’s nothing like the movie. It’s not like that. But I guess it’s almost like a nightmare version of what I’m living with my daughter. I’m living a dream with my family and my daughter… It seems obvious that I may be talking about me and my daughter, plus I’m getting fat.”

I don’t think since I saw Ruben Östlund for the first time — I hadn’t really seen anyone with whom I thought, ‘Whoa, this guy is his own master.’

Harrelson said of Dupieux, “I think he’s got an extraordinary sense of humor, but he also just has a way of shooting things that just heightens or magnifies the experience for you. I don’t think since I saw Ruben Östlund for the first time — I hadn’t really seen anyone with whom I thought, ‘Whoa, this guy is his own master.’ And ‘Whoa, OK!’ He is a true maestro and I think his vision is extraordinary. And if you don’t like the film, there’s only one guy to blame. He’s the writer, the director, the cinematographer and the editor, but he’s great.”

Dupieux explained the philosophy behind the film thus: “I was just making fun of Americans visiting Paris, my version of it, because what you see in Emily in Paris, for example, is not real. I don’t want to say too much, but no, there’s no message. It’s just like I’m making fun of humanity.”

Harrelson said he’d met Stewart some years back when they were considering working together on another project that ultimately didn’t pan out. “I met her when she was about 17. She had just worked with Sean Penn and he was raving about her. And then I saw the movie and she was great in that. And then we hung out.”

“It was love at first sight,” Stewart said of first seeing Harrelson in White men Can’t Jump. “I was just a little guy going, ‘God, he’s f–king cool.’ He took me to a vegan spot in the valley and we totally bro-ed down and then never got to make the movie. And so when this popped up, I was like, ‘I’ve wanted to work with this guy forever.'”

With regard to what she’s doing next, Stewart said, “I’m writing two movies right now and I’m going to go shoot this Amazon show called The Challenger. I have some balls and they’re all in the air and I think I can hold them all. I want to make two movies basically by the end of May next year, I want to be figuring out what festivals they’re going to. And they’re really different. They’re really cool. I want to make an exploitation film and I want to make it for nothing and I want to distribute it myself. I want to make something teeny-tiny and let it trickle and just not be a part of a system that doesn’t behoove me.”

Harrelson said, that in addition to upcoming Apple TV series Brothers with Matthew McConaughey, he has Jason Bateman’s Netflix film Cackling of the Dodos.

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Kristen for The WrapBook: Directors of 2025

 

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Kristen is honored at the Kodak Film Awards with the Debut Feature Award in LA - 2 March 2026

 

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Video: Imogen Poots interview for 'The Chronology of Water' with Collider

 

Video: Kristen and Imogen Poots talk 'The Chronology of Water' with Queerty

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Audio: Kristen talks about movies and 'The Chronology of Water' with The Movies That Made Me

 

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Video: Kristen talks to 'The Chronology of Water' on Indiewire's Toolkit Podcast

 

Kristen talks 'The Chronology of Water' with USA Today

Kristen Stewart fought for a decade to direct “The Chronology of Water.” So she's going all out for the movie's "rock show" premiere in Los Angeles.

“I’m going to wear a f------ bathing suit,” Stewart says conspiratorially on a recent Zoom call. “And then that’s it! Boom, done, move on.”

Stewart, 35, has traveled the globe promoting "The Chronology of Water" (in theaters Jan. 9) ever since it premiered at Cannes Film Festival last May. She's now finding it hard to let go.

“I’ve been fixated on this thing for so long,” says the actress, who makes her directorial debut with the expressionist drama. “This just felt like my own private thing for 10 years, so it's weird to have it traipsing around the world and living its own life. Everyone feels like a mama when they make a thing and call their movie their ‘baby.’ I know that’s a cliché, but it really feels like a first-time, fluttery mom feeling.”

Kristen Stewart shares why it was 'so hard' to make 'Chronology of Water'

“It sounds like a total platitude, but you just have to trust yourself," says Kristen Stewart, who directed and wrote her first movie "The Chronology of Water."

Based on Lidia Yuknavitch’s 2011 memoir, “The Chronology of Water” follows a woman (Imogen Poots) who survives an abusive childhood with the help of competitive swimming. But her Olympic-level talents are derailed by addiction, and she eventually finds healing through writing.

Stewart read the book in 2017 and announced her intentions to direct a movie adaptation the following year. The project sat in relative limbo until 2024 as prospective producers balked at the dark subject matter and nonlinear storytelling, deeming the movie unmarketable. But Stewart, who had directed short films and music videos, was undaunted.

“I really stayed on this squirrely path,” she says. “A lot of people that I trust and love were like, ‘I don't think there’s a movie here.’ ” Ultimately, it’s about “having faith that your thought process isn't so rarefied and dumb. If it works for you, it's going to work for other people.”

"As an actress, I sometimes feel that I don't fit certain places," says Imogen Poots, who stars in Kristen Stewart's new movie. "With this, I realized that's OK."

Stewart partially credits her Princess Diana drama “Spencer,” and 2022 best actress Oscar nomination, for helping “get eyes” on the project.

“The only reason I was allowed to make this movie was because 10 different financiers were like, ‘Oh, Kristen Stewart, maybe her taste isn't s---,’” says Stewart, who had her big-screen breakthrough at age 10 in 2002’s “Panic Room.” “One thing leads to another, since I was a little kid. I'm piggybacking on every last experience I'm having all the time.”

Kristen Stewart can't shake the 'mom feeling' of making her first film

She believes that she could have directed “Chronology” when she was younger, although it would have been a “very different movie."

“I don't necessarily believe in divine timing. I think everything's taking too long,” Stewart says. “At the same time, it was so hard to make this film, and I’m genuinely proud of my body and its ability to sustain carrying this beast. I don't know if I had that when I was 26 or 28.”

Kirsten Stewart will 'keep doing it her way' as both an actress and director

"I had so many people try and tell me to clarify things," Kristen Stewart says. "What I learned was to follow your instincts."

Critics have embraced “Chronology,” which has 91% positive reviews on Rotten Tomatoes.

“People have been really nice about it,” Stewart says. “No one has slaughtered the film; I was expecting the movie to get battered.” She figured they wouldn't warm to its languid pace and surreal imagery: “I don't think people have a lot of patience for that, so I was surprised when people got it and felt passionate about it.”

Still, she gets frustrated by the patriarchal gatekeeping of women's stories; research shows female filmmakers continue to be widely underrepresented at both the box office and the Oscars. At a Hollywood women’s luncheon in November, the “Personal Shopper” star pointedly called out the “boys' club business model that pretends to want to hang out with us while … belittling our true perspectives.”

There’s a “mass gaslight that’s happening, as if it’s difficult to point at the fact that we’re not allowed to take up as much space,” Stewart says now. “Sure, a couple more ladies are allowed to make movies than they were 20 years ago, but it’s not going to change in my lifetime.”

Stewart laughs at the suggestion that if 2008’s “Twilight” had been directed by David Lynch, it would have been hailed as a strange, subversive masterpiece. Instead, the Catherine Hardwicke-helmed romance was immediately dismissed as a young-adult chick flick.

“Because teenage girls are dramatic,” Stewart deadpans. “I’m like, so is David Lynch!”

Even still, she feels encouraged by directors Lynne Ramsay and Mona Fastvold, whose new dramas are unapologetically emotional and heightened: “ ‘Die My Love’ and ‘The Testament of Ann Lee’ are absolutely radical movies that, if you don’t like them – and put this in print – you hate women,” Stewart says. “They f--- with form and fixate on certain things that are not overtly plot-oriented.”

After their experience collaborating on “Chronology,” Poots is eager to see what Stewart does next.

“She's going to keep making stories that are deceptively simple, but like any great artist, she's going to Trojan horse some pretty good notions into that,” Poots says. “She’s not interested in being cool, and that’s what makes her so cool. She’s going to keep doing it her way.”

Coming up, Stewart will star as astronaut Sally Ride in the limited series "The Challenger," as well as film "The Wrong Girls," written and directed by her wife, Dylan Meyer. She has her “fingers and toes crossed” that she'll film her next project in LA later this year: a microbudget movie that she plans to make very quickly with her friends. “It’s about the industry, but very peripherally,” Stewart teases. “I can't wait, I love it so much.”

After the long gestation of “Chronology,” she wants to just let her impulses guide her.

“(John) Cassavetes got something right,” Stewart says. “Pick up a f------ camera and say something to someone!” Maybe it’ll take three weeks or three years, but “what I’ve learned is to do it right now.”

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Kristen talks to the Seattle Times for 'The Chronology of Water'

For most of the world, the first time they were introduced to actor Kristen Stewart was when she starred in the Washington-shot and -set “Twilight” film franchise in which she played a teenager who falls in love with an immortal vampire. Though her breakout role likely holds an immortal place in the minds of audiences who think of her and the region, she’s now reintroducing herself as Kristen Stewart the filmmaker via an acclaimed debut feature with deep local roots of its own.

The film is “The Chronology of Water,” an outstanding, one-of-a-kind adaptation of the memoir of the same name by the equally outstanding Oregon writer Lidia Yuknavitch. An evocative, slippery film that defies standard narrative structure and linear time, it takes us through the days of Yuknavitch’s life growing up in Washington state, her abusive father abruptly moving her family to Florida, initially escaping to college in Texas and eventually returning to the Pacific Northwest to finish school at the University of Oregon. It’s in Eugene where Yuknavitch began to discover her desire to write stories all her own. 

“The Chronology of Water,” which is being released through the new locally tied film distributor The Forge, similarly represents a key moment for Stewart in finding her voice. After “Twilight,” she worked alongside a wide range of incisive filmmakers, such as PNW indie favorite Kelly Reichardt on her delicate drama “Certain Women” and Olivier Assayas on the ghostly thriller “Personal Shopper.” She hungered to direct a film of her own, though, and has spent eight years attempting to make that first feature be “The Chronology of Water.” Now that it’s here, she’s proud of her work, which she feels was as fitting a debut as she could ever dream of. 

“Am I still shocked that it is here? Uh, yeah!” Stewart said. “That’s totally what the movie is about. That’s why it had to be my first movie because it’s about being allowed to say something. … It’s about reverse thievery, it’s about stealing back words.”

A key step in this stealing back, after she’d written and visualized much of the film in her mind, involved Stewart determining where she would shoot it. Though much of the story is set in Washington and Oregon, it was primarily shot in Latvia in 2024. Stewart felt the country best suited the film she was trying to make, as many of the locations in the Pacific Northwest have moved past the era that she was hoping to capture. 

“When we scouted Latvia, it was like it lived in this time warp, and the movie exists out of time. It’s all the right colors, and if you looked in little crevasses, and you found the right slivers of this environment, it totally evoked what it felt like to read the book and delve into her memories of these places,” Stewart said. “In real life, in Eugene and Portland and Washington, those places don’t look the same.”

Some elements of the environment didn’t quite capture the authentic Pacific Northwest Stewart was looking for. In one critical scene following a shattering loss, she’d hoped it would occur in a downpour. The solution? Lean on Yuknavitch as played by a great Imogen Poots.

“The weather had to come from Imogen. She just had to create this storm out from the middle of herself,” Stewart said. “We were not in a rainstorm … and I was really bummed about that, but you give and you take.”

That giving and taking was something that extended to how Stewart explored Yuknavitch’s past. Much of the film feels conjured from memory, as if we’re glimpsing old home movies. More than anything, Stewart said she wanted the memories to feel “distant and striking but with massive gaps” that give the experience an elliptical effect. Though she had some of this planned out, she said a key part of working with her “incredible” cinematographer Corey C. Waters was about being open to inspiration as it came to them.

“When I started hitting the ground running with Corey, everything started finding itself,” Stewart said. “All of these striking images that I had dreamed of for years and years were besting themselves or reinventing themselves or landing perfectly and precisely on their mark and satisfying the ever-living (expletive) out of me.”   

One of the key moments that the film lands on its mark is when we meet the iconic writer Ken Kesey (played by an excellent Jim Belushi) who helps give Yuknavitch the confidence to begin writing. Stewart said she’s had Kesey-esque directors come into her life and support her at key points. 

“Olivier Assayas has always been, like, ‘you are a filmmaker,’ and it’s because we’ve worked together and he doesn’t believe in this mythological creature that is the director,” Stewart said. “And also Pablo Larraín (who worked with Stewart on “Spencer”). I have both of their voices in certain times when I need them ringing in my ear. There was just space that they created around me to be purely visible.”

Stewart said she, too, wants to not center herself as a director and provide space for her crew.

“Your imagination is cool, but it’s never going to be as full and vivid as the world around you and your reaction to it. That includes your team,” Stewart said. “We’re doing this all together. The seed of the idea comes from one person, but it’s the entire ecosystem that makes it happen, unless you’re some kind of narcissistic, narrow-minded idiot who’s making movies we’ve all seen before.”

So now that she has made a movie nobody has seen before, what’s next? She isn’t giving up acting and is, among multiple upcoming roles, set to star in the vampire movie “Flesh of the Gods” from “Mandy” director Panos Cosmatos. However, it was the experience of making “The Chronology of Water” that showed her that the thing she loves more than anything is directing.

“I absolutely love being an actor, but it has led me here. This is where I want to be. Because the movie was on such a precarious path for so long, stepping off the boat onto dry, solid ground, and being happier than I’ve ever been, it’s not about achieving anything; it’s about being proven right that, yes, that was kind of brutalizing, but it’s all I want to do,” Stewart said. “It could have been something that I worked so hard for and then went, ‘I never want to do that again.’ Then who would I be? But now I know more than I’ve ever known. … I feel like I’m on fire.”

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Kristen talks to People at the Variety 10 Directors to Watch Brunch

 

Kristen Stewart is ready for a break. 

The 35-year-old actress and director opened up about her hectic 2025 while speaking with PEOPLE at the Variety Creative Impact Awards and 10 Directors to Watch event at the Palm Springs International Film Festival on Sunday, Jan. 4. 

“I've had the craziest year of my entire life,” Stewart shares. “I got married. My wife made her a movie. I starred in it. I made my movie. We went to Cannes. It's now actually coming out in theaters, which blows my mind.” 

Stewart, who tied the knot with wife Dylan Meyer in 2025, jokingly quips, “I was so carbonated over the last year. I need to get flat… I need to go fizz out.”

What exactly does that mean for the Twilight alum? 

“I need to go back, fill the well, figure out what my next movie is,” she explains. “There are a couple of things I want to do, but you need to, I need to chill before I can actually come back with the gusto that it's going to take to make those movies.”

In April, Stewart and Meyer tied the knot in Los Angeles’ Casita Del Campo Mexican restaurant with 170 guests in attendance.

Despite being ready for a professional reprieve, Stewart shares that directing has been something she’s had in the cards since she was a child actor. 

“I think every impulse towards wanting to help other people tell their stories has been leading me here,” she says. “I think one of the first questions that I had for Jennifer Beals and Jodie Foster, like, the younger me asked everyone who played my mom, like, ‘Who's the youngest director you've ever worked with? Like how old?’ ” 

Noting that she was 12 and 15 at the time while asking these questions, Stewart adds that even at that young age she felt she was trying, “to facilitate the kind of catharsis that I went through when I was put on the proper path.” 

Stewart's 1980s-set Chronology of Water is now in theaters.

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Kristen at Variety's The Creative Impact Awards And 10 Directors To Watch Brunch at the Palm Springs International Film Festival 2026

 

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