"I bleed, peed, cried, vomited." This sentence ends in the second paragraph The chronology of water, Lidia Yuknavitch's extraordinary, very original 2011 memoir about growing up, almost giving up, and nervously grasping the traumatic past. This is one of the most compelling openings in any autobiography – a moment after the baby is given, she has extended her daughter’s lasting description. Kristen Stewart has been talking about bringing Yuknavitch's book to screen for years. But she was not interested in playing the survivor because he directed the adaptation and quoted the story of the cover: "Make some subversive, beautiful and real." Stewart told anyone (or not asking) that if she could bring her vision of the life of this woman to life, it would give justice to the horror and poetry of that moment. meeting no Avoid blood.
Stewart accomplished what she intended to do with honor. She is everything she has learned Chronology This free-form biopic passes, and still feels radical, bruised, honest. But there is a brief statement after the liquid stock: "I turned into water." Champion high school swimmer Yuknavitch faced such a tragedy, which showed that it was a complete collapse. But it also hints at liberty, while the film shows its heroes, with sex, drugs, alcohol and various other forms of self-destructive behaviors, the image of pools, rivers, lakes and clean baths never lag behind. Stewart slowly entered the frame with blood and mixed with the residue from the shower. But the lens is good for something that washes it off. You can't accuse her of burying Lede.
Even located in Cannes A certain appearance, Stewart's directorial debut will allow Beaucoup Eyes to focus on the sidebar preparation for the first-time filmmaker and the sidebar of "non-traditional stories seeking internationally recognized." Curiosity about the former twilight In the days leading up to the premiere at Debussy Theatre on Friday night, Star and Oscar nominees would do rampant things behind the camera, and many would think anything that amounts to victory as a vanity project isn't avant-garde. We have to say that what she did with this raw material is incredible. Behind the gloves that show Imoschin are almost a punk sensibility, that Yuknavitch, who is from his teenage years old to his thirties, is forced to run. It is obvious that Stewart’s goal is to push the envelope, get stuck, and make everything worse in the name of trueness.
However, for what the writer has endured, what is increasingly prosperous here is that you feel that Stewart and Poots are working in combination, so as not to reduce Yuknavitch into her painful memories. Lidia's sister (Thora Birch, whose quiet work is just as courageous) manages to step out of a family dominated by a sexually abused father (Michael Epp). However, Lydia is still trapped in the monster's nest. Mom (Susannah Flood) is numb with alcohol and her youngest daughter will soon copy. Even swimming, one thing saved for her from the horrible family life, was contaminated by violence. A coach promised his young female athlete “a pound per pound per pound) that made a good promise to the promise. She couldn’t escape the devil or personal demon.
College life, chronic leisure, wrong decisions, opportunities to work with Jim Belushi, two unwise marriages and opportunities to liberate through BDSM - courtesy of Kim Gordon's additional deadpan satire. Literary praise, too, a patient and handsome bearded stranger (Charlie Carrick) and the peaceful thing. We've seen this story several times before. Nevertheless, given how poisons descend from the bottom of one rock to the head of another and keep the writer's pain under the surface at all times, you'll be relieved to see the tide of pain bringing a lot to the actors like a character. It is the kind of performance that is all-in-one or nothing. The previous option wins.
Interestingly, while Stewart doesn’t sublimate her artistic tendencies and reserves of anger in telling Yuknavitch’s story – we can imagine a shared narrative of many women, creative genres or other ways, she is keenly aware that she has a responsibility to make sure she has the right view of her subject. This is the most impressive of her debut, even better than the faded Kodachrome aesthetics of 16mm photography, the elliptical editing style and here lyrical rather than linear. (If you have to find a comparison point for overall aesthetics, early work by Gus Van Sant will be the most likely option.)
But if there are personal expressions abound in Stewart's debut, there is also a precious self. Playboys often stab or sink the actors' works will not feel the camera. We don't want to see her give up acting altogether - she's too good at too many different types of skin. But if this is the first of Stewart's many filmmaking efforts, then we welcome everything in the future. She proved that she was not afraid of blood draw. Finally, she understands the art of making images flow in a way that transcends the South.