Stewart, who has long expressed admiration for poetry, philosophy, and feminist literature, also harbors a quiet passion for the Spanish language. She’s been learning it for a while—out of love for its rhythm, emotion, and expressive power. “Spanish feels like a language made for cinema,” she’s said, often toying with the idea of directing in it someday.

Q: Kristen, you’re premiering your directorial debut, The Chronology of Water, at Cannes. What does this moment mean to you?

It feels like a revolution—personal and professional. This project isn’t just a film; it’s a shared scream. It’s raw, it’s feminine, it’s bleeding. I said early on, “This project needs to bleed.” It had to feel like a woman limping and bleeding. It’s that honest.

Q: How did this story find you?

It was wild. An algorithm on Kindle recommended it. Forty pages in, I closed the book and reached out to Lidia Yuknavitch. I felt like she was telling my secrets—the ones we’re taught not to say out loud. Like when you get your period or you’re pregnant and you’re told not to talk about it yet “in case you lose it.” Lidia tells you: look at it all. That’s why I had to make this movie.

Q: Was it difficult to get the project off the ground?

Yes, incredibly. Just mentioning the premise made investors run—abuse, addiction, radical feminism. Nobody wanted to fund that. But that’s exactly why it had to be made. I refused to self-fund, though. No way. I’m not justifying this film’s existence with my own money. Women deserve to have stories like this told.

Q: Yet, you did pay for something personal—you brought your whole team to Cannes. Why?

Because this was a family-made film. We’re not even in the Official Selection, we’re in Un Certain Regard, but everyone is here. I wanted to honor the people who made this with me.

Q: You cast Imogen Poots in the lead role. Did you ever consider playing the role yourself?

Not at all. Lidia is all flesh, all woman. I’m too arrow-like—too straight, too pointed. I couldn’t see myself in it. Imogen and I are like sisters now. What we went through filming this has bonded us forever.

Q: Are you a big reader?

I love to read. Is one of my passions. Yes. 

Q: Do you have any Spanish authors in your favorites?

I don’t remember one, but I do love A Farewell to Arms and The Sun Also Rises from Ernest Hemingway two books dedicated to the history of Spain. He was in love with the Spanish culture and I love it through his eyes

Q: Have you ever been to Spain?

A few times. I love it there. 

Q: Do you speak Spanish?

Not very well, no.  Spanish feels like a language made for cinema

Q: This year you share the spotlight with another former teen star turned filmmaker—Scarlett Johansson. What does that mean to you?

It’s wild, right? Both of us started young. Both of us underestimated each other. And now here we are—telling female-led stories in a historically male-dominated space. It feels meaningful.

Q: Has this experience changed how you view the film industry?

Definitely. The industry feels bloated and broken in places. I don’t think I can work with traditional studios again. I want my future projects to feel communal, respectful—like the work of John Cassavetes. That’s the model.

Q: You initially wanted to shoot the film in Oregon, where the story takes place. What happened?

We couldn’t get funding for that. So we shot in Latvia and Malta for budget reasons. But now, because of the political climate—especially with people like Trump stirring things up—shooting outside the U.S. feels like a betrayal to some. That’s absurd.

Q: Are you optimistic about where things are headed?

Yes. I’m a furious optimist. I don’t believe this dark time will last forever. But we need to stay awake. Look around. People are not okay. Art has to reflect that.

Q: Your career has transformed over the years—from Twilight to Spencer to now leading the Berlinale jury in 2023. What drives your choices?

I want to make art that means something. I don’t want to be a circus monkey making movies just to entertain. I want to provoke, to explore, to reflect truthfully what it means to be human.

Q: You’ve been outspoken about the state of gender equality in Hollywood. Has that influenced your work?

Absolutely. There’s a fake sense of progress. We talk about supporting women, but it’s usually the same select few who get a seat at the table. I’m not interested in being part of that illusion. I want actual, inclusive change.

Q: What’s next for you?

I have about ten projects in the works. All of them are driven by the same urgency: to tell the stories no one else will. The uncomfortable ones. The ones we usually keep quiet. That’s the cinema I want to make. No apologies.

Q: What do you hope audiences take away from The Chronology of Water?

I don’t care if they love it or hate it. I just want them to feel its honesty. That’s all.

By María Estevez

Correspondent writer