Imogen Poots talks trust, transformation and the female body in Kristen Stewart’s directorial debut

by

Imogen Poots admits she gets homesick when she’s not working on meaningful projects. She describes her recent role in ‘The Chronology of Water’ as a particularly fulfilling experience where she truly excelled.

The movie is based on Lidia Yuknavitch’s memoir, and as actress Imogen Poots puts it, it’s about how Yuknavitch, a former swimmer turned writer, took ownership of the challenges others created for her. The film doesn’t simply tell the story of Yuknavitch’s life in order; instead, it presents key moments from her youth and focuses on how she processed and reshaped those experiences through her writing.

Poots was first offered the lead role after receiving the script, which she’d described as more poetic than a typical screenplay. She then recorded an audition tape and quickly after, met with Kristen Stewart, the first-time director. They immediately connected, with Poots explaining, “We both work incredibly hard, but also try to live life at a similar speed and in a similar way.”

Because the film deals with difficult themes, the lead actor and director needed to have a strong, trusting relationship. As actress Poots explains, “You really need that level of trust, belief, and, most importantly, respect to make a film like this.” She clearly admires her collaboration with the director, saying it was a balance of letting each other do their jobs: “I needed to trust her direction, and she needed to let me perform. That’s a great dynamic, and it doesn’t always happen.” She also felt their connection was special and almost unexplainable – a natural fit.

We both felt a real opportunity with this project, and we were determined to make the most of it without letting the pressure overwhelm us. It’s a rare film, and it’s especially significant that a woman finally received the funding to bring it to life. Our goal was to confidently create the film we envisioned, while also navigating the weight of those expectations.

The close, trusting relationship between the actor and director is clearly reflected in how the film portrays the female body. “The Chronology of Water” is powerfully realistic in its depiction of intensely personal and sometimes challenging aspects of being a woman – it even begins with a striking image of Lidia’s blood, a thick, red stream blending with water. Later, the film shows the full range of natural bodily fluids a woman’s body produces. Early in the film, Lidia herself remarks, “I didn’t know a girl’s body could do that,” capturing the film’s raw and honest approach.

As a film lover, I was really struck by what Poots said about the film’s approach. She described it as ‘valuable,’ and it made me think about how the female nude has always been portrayed in art – often starting from a place of idealized beauty. She pointed out something really important: for women, there’s still so much mystery surrounding our own bodies, and so much still to be discovered medically. She felt this film was a chance to really break that open and explore it honestly, and she described that as incredibly vulnerable, but also liberating.

Being truly present in your body is a powerful experience. Throughout my life, both as a woman and an actress, I haven’t always felt that connection. When it does happen, it’s incredibly insightful and emotionally intense – and that’s what we aimed to portray in our work.

I was really struck by how honestly the film portrays the physical experience of childbirth. I recently read about Amanda Seyfried mentioning that some people actually walked out of an IMAX screening during those scenes in ‘The Testament of Ann Lee’ – apparently, even at the Venice Film Festival premiere, some men left during those moments. But this film doesn’t feel exploitative or overly graphic. It shows both the beauty of bringing life into the world and the pain of loss with a realness that feels important, without being needlessly shocking.

Poots points out the strange double standard surrounding the female body, noting the lingering shame and expectation that women should control natural processes. She observes that audiences can easily watch graphic violence on screen, but feel uncomfortable acknowledging the realities of where life begins – a woman’s body.

Honestly, it’s a really unsettling thought for many of us – the idea that we just… appeared, that we were born. It’s a bit much to wrap your head around, you know?

Every aspect of “The Chronology of Water,” from the actors chosen to the deliberate absence of music and the carefully chosen colors, was a conscious decision meant to work together seamlessly. The director explains that shooting on film created a sense of immediacy, and she particularly valued her close working relationship with cinematographer Corey C Waters. She describes how their collaborative process – working closely together in a small space – resulted in beautifully captured moments.

She continued, explaining that filming on film is a special opportunity. She feels Kristen was one of the first people to truly understand her, and then helped her see herself in a new light, which is a rare and meaningful connection. She believes this feeling of authenticity comes through in the texture and vibrancy of the film itself.

The film rests heavily on Imogen Poots’s performance. She convincingly portrays Lidia from her teenage years into adulthood, subtly revealing the complexities of her character – even during moments of impulsiveness, anger, and struggle with alcohol. Poots immediately focused on Lidia’s basic goodness when first approaching the role, explaining, “I think she’s fundamentally a decent person,” but also acknowledging that “she makes a lot of mistakes.”

What really struck me about Lidia’s character was her incredible resilience. It’s deeply moving to watch someone simply try their best, especially when life throws so much at them. She was burdened with incredibly difficult circumstances – a truly awful childhood with an abusive father – and then forced to deal with the fallout and take responsibility for problems caused by others. The abuse itself was terrible, of course, but as a viewer, I was far more captivated by how she lived with it, and how she chose to move forward. That’s where the real story, and the real power of her performance, lay.

She strongly connected with the film’s focus on Lidia’s memories, which were shown as fleeting, powerful moments – like snippets from old notebooks or whispers carried on the water, unexpectedly coming back to the surface. She explained that this resonated with her personally, noting how we all reinterpret past experiences. She added that the film captured a feeling similar to the Rilke quote, ‘Let everything happen to you: beauty and terror. Just keep going. No feeling is final.’

She described the character as simply navigating the challenges of life, which she found really powerful. She believes that if an audience member connects with Lidia, the specifics of her story don’t matter. What’s important is recognizing those universal feelings – having made difficult choices, even mistakes – and seeing that reflected in the character. Lidia represents all of those relatable experiences.

Imogen Poots delivers a captivating performance, and she’s well-supported by a strong cast who each influence the direction of Lidia’s story. She particularly praises her scenes with Jim Belushi, who plays author Ken Kesey – a key figure in Lidia’s development as a writer – and Thora Birch, who plays Lidia’s sister Claudia. Poots describes Birch’s performance as powerfully intense and considers both Belushi and Birch to be highlights of the film.

She described the scenes with Jim Belushi as particularly meaningful. The moment he asked her character, ‘What do you want to write?’ on the porch was a turning point for Lidia, and resonated with the actress herself – Kristen also enjoyed filming it. Belushi’s performance was special because, for the first time, Lidia felt genuinely acknowledged and taken seriously, and she hoped her character wouldn’t squander that opportunity. The scene felt powerful, suggesting Lidia hadn’t yet begun to explore her full potential and had been suppressing it for too long – it was a truly beautiful moment.

I really enjoyed working with Thora Birch. Our scenes together were fantastic and helped keep me centered, and I consider that time to be a real highlight of my career.

This realization subtly directs our attention to Imogen Poots’ impressive career over the past twenty years. Now 36, the London-born actress has consistently delivered varied and compelling performances. She landed her first major role at just 17, playing Tammy Harris in the sequel to Danny Boyle’s hit zombie film, 28 Weeks Later. Since then, Poots has largely focused on independent films, exploring many different genres – from lighthearted comedies set in New York City to intense and violent horror movies. She explains, “I always knew independent cinema was where I wanted to be.”

Despite her successful career, Imogen Poots remains down-to-earth. When I told her I’d had a year of films similar to hers in 2025, she laughed and said, “Someone had it! That’s cool.” Beyond The Chronology of Water, last year also saw the release of Hedda, a well-received adaptation directed by Nia DaCosta, and the sci-fi romance All of You, both of which showcased Poots’s talent. She explains, “It’s really special when you genuinely enjoy making a film, and then you also love the finished product – that doesn’t always happen.” She also fondly remembers the people she worked with on those projects.

Even with her impressive past work, this project feels especially significant for Poots. When asked about her process for selecting roles, she explained that staying true to herself is key. While acknowledging the need to earn a living, she believes there are ways to do so while maintaining authenticity and working with the right people. She’s realized that making thoughtful choices leads to collaborations with people she truly connects with, which she finds incredibly rewarding.

As our conversation wrapped up, we started talking about what Poots might do next. She explained that she’ll know when the right opportunity comes along, rather than planning a series of projects hoping one will succeed. She prefers to let things unfold naturally, embracing the uncertainty that comes with her career, which is a big part of what appeals to her.

She concluded by explaining she’ll approach future projects like creating albums – a process musicians use to build a cohesive body of work.

You know, I was talking to this artist, and she hit the nail on the head. She was wondering if it’s better to just keep churning out albums one after another, or if you really need to step back, recharge, and figure out what you actually want to say with the next project. She thinks taking that time to reflect is a really smart approach, and honestly, I totally agree. It’s like, do you rush it, or do you let it simmer and come out something truly special?

Want to see this content?

We can’t display this content because of a security measure called reCAPTCHA. To see it, please log out of Contentpass.

The Chronology of Water is available to watch in UK cinemas from Friday 6th February.

Authors

Chezelle BinghamSub-Editor

Chezelle Bingham is a Sub-Editor at TopMob. Before this, she worked as a Writer for Disney, creating content for six magazines aimed at young children. She has a BA degree in English Literature and Language.

Read More

2026-02-05 12:36