If you are loyal Bookstrs, you must have already known that our Twilight-girl Kristen Stewart is currently working on her directional debut The Chronology of Water which is based on American writer Lidia Yuknavitch’s same name memoir. Recently, in her interview for Mastermind Magazine, Stewart honestly shared her thoughts about sexual ambiguity and her favorite line from the screenplay writing.
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The Chronology of Water is Stewart’s first try in directing a long movie after her directing music video “Down Side of Me” and short film Come Swim. Lidia Yuknavitch’s The Chronology of Water tells a her personal story of being a sports girl exploring her ambiguity in sex, gender, and sexuality with both men and women after she is kicked off the Olympic swimming team because of her alcohol addiction. She’s a writer and teacher in college now, and she thinks that the wild journey of her young, chaotic, and powerful explosion of sexuality makes her alive. After reading the book, Kristen Stewart once claimed that:
She [Yuknavitch]’s in my blood and I knew that before I met her. As soon as I met her it was like we started this race without any sense of competition. The Chronology of Water is the story of a lifelong swimmer-turned-artist, and explores the issues of sexuality, grief, and addiction. If that doesn’t sound like a perfect fit for Kristen Stewart, then we don’t know what is. I’m making the movie this summer but other than that, my only goal is just to finish the screenplay and hire a really spectacular actor: I’m going to write the best fucking female role. I’m going to write a role that I want so badly but that I’m not going to play.
As a high-profile LGBTQ Hollywood actress, this twenty-eight-year-old celebrity has led a controversial personal life, Stewart herself is also exploring her sexuality on the road, fearlessly and wildly. So far, she had dated a male actor and a male director, female artists, and since 2016 she has been in the relationship with New Zealand model Stella Maxwell. In 2017 her hosting Saturday Night Live, Stewart said “I’m like, so gay, dude;” and in 2017 interview with Guardian, she claimed that “you’re not confused if you’re bisexual. It’s not confusing at all. For me, it’s quite the opposite.” According to People, in her recent shooting/interview with Mastermind Magazine, she keeps saying that:
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Yeah, ambiguity is my favorite thing ever. In terms of sexuality? For sure. And also in making films, if you perfectly answer every question, you don’t allow for people to have their own experience and really indulge a thought. I feel the same way about how we f**k each other. You don’t want to know everything all the time.
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As a director now, Stewart especially cares about the perspective of female and the female body exploration:
Right now, I’m so aware of the fact that we’ve watched, cinematically, men and their way into their bodies and do physical things that feel fundamental to this male perspective. In every coming of age story we see about a young girl, even if it’s the truest, most sincere thing, what’s lacking is the physical honesty of actual female experience and the way we discover our bodies. It’s like we’re scared of using certain words.
In the magazine, she also shared her screenplay writing for the film:
My favorite line in this movie I’m currently writing is, ‘I thought about Sienna Torres and her shoving her hand into my wide-open c*nt about as wide as a mouth saying motherf*cker.’ That’s not something people would be comfortable hearing, up until right now, but I think it’s the perfect time. There’s nothing dirty about it, but I’m definitely going to be vulgar, and I’m definitely going to be completely unabashedly open about the fact that we’re entirely sexual beings.
Though some people think that she is reckless and vulgar, Stewart keeps camping the issue of gender fluidity/ambiguity up－in this case, for a certain point, I’m totally a big fan of her. American queer theorist Judith Halberstam once in her book The Queer Art of Failure argued that ‘a sense of failure can become a subversive power against the prevailing mainstream of normality, fabricating a queer aesthetic that is not based on normal identification.’ In other words, maybe for some traditional feminists, Kristen Stewart is not a good gender-equality advocate; yet it is Stewart’s assertion that she’s “definitely going to be vulgar” that somehow gives a fierce punch on the face to steady patriarchy.
I’m ready to read Lidia Yuknavitch’s memoir, and I’m looking forward to Kristen Stewart’s film adaptation.
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