Welcome to FlixChatter’s first double reviews edition of 2026! Today’s theme is the directorial debut by a pair of acclaimed actresses: Kristen Stewart and Kate Winslet.

The Chronology of Water is a film that tells the story of a woman who battles through childhood abuse, addiction, and toxic relationships, ultimately discovering her voice through writing. This film marks Kristen Stewart‘s debut as a director, and it’s based on Lidia Yuknavitch‘s 2011 book of the same name. Imogen Poots delivers a bold, career-best performance as Lidia, and Stewart doesn’t shy away from the rough edges of this unsettling and disturbing story. Instead of following a straightforward plot, the editing is fragmented and can be disorienting, which is intentional to reflect the confusing nature of memory and trauma.

I read that the montage technique is used to create a stream-of-consciousness vibe that reflects the author’s writing style in the original memoir. I understand what Stewart is trying to achieve, but since this is her debut as a director, it comes across as somewhat choppy and disjointed at times. I often feel that new filmmakers can be a bit overly indulgent and overdo things, which seems to be the case here with the rapid cuts and flashing lights.

At times, the stylistic choices can overshadow the story, but thankfully, Poots’ mesmerizing performance really ties the film together. Her brutally honest and unflinchingly raw portrayal draws me into Lidia’s inner world with genuine vulnerability. It’s a challenging physical and mental role that the English actress manages incredibly well. Poots has always been amazing in supporting roles, like her recent performance in Hedda, but I’m really glad Stewart gave her such a significant role to fully explore. It’s a physical and highly sexual role for Poots, as Yuknavitch openly mentioned that swimming and a lot of sex (with both women and men) serve as an escape for her to numb the pain.

I especially enjoy the scenes at the creative writing workshop with Jim Belushi, who takes on a rare serious role as Ken Kesey, the author of One Flew Over the Cuckoo’s Nest. Despite his own battles with substance abuse, he becomes Lidia’s unexpected mentor, helping her discover her voice. In a way, he’s the closest thing to a somewhat healthy father figure that Lidia has ever had. It’s also interesting to see Thora Birch as Lidia’s sister; I haven’t seen her in anything since American Beauty over two decades ago.

While the two films are very different in terms of styles and tones, Stewart is definitely more experimental than Winslet in her first film, for better or worse. While I was watching, I thought that the themes, especially Lidia’s restlessness and fluid sexuality, really fit Stewart. I totally get why she’s interested in this story, and directing seems like a natural way for her to express her creativity.

I’m not really into trippy films, but I always appreciate seeing a woman overcoming childhood trauma and substance abuse through art.

The holiday season can be challenging even in the best of times, but it becomes even more difficult when a family’s matriarch receives a worsening cancer diagnosis. June’s battle with terminal cancer throws her four adult children and their frustrating father into turmoil as they deal with complicated family relationships while facing the possibility of loss.

Goodbye June is Kate Winslet’s directorial debut, based on her own son Joe Anders’s first screenplay. Similar to Jarmusch’s film, the one thing it’s got going for it is the stellar cast, with Helen Mirren in the title role, Timothy Spall as her husband Bernie, plus Toni Collette as Helen, Andrea Riseborough as Molly, Johnny Flynn as Connor, and Winslet herself as Julia, making up the four siblings. The story may be familiar, but it’s enhanced by wonderful performances and some unexpected family dynamics.

Considering the strong female cast, I was really surprised to find myself particularly touched by Flynn’s portrayal of the shy and sensitive brother, who is deeply affected by his mother’s looming death and the fractured relationships of his two sisters. While the acting is impressive, I think Helen’s character, a bohemian, free-spirited hippy, comes off as more of a caricature meant for comic relief. The constant bickering between Molly and Julia, sometimes in front of their ailing mother, can get pretty intense. Yet, somehow, June manages to use her wit, along with the support of the saintly Nurse Angel (Fisayo Akinade), to orchestrate a reconciliation on her own terms.

The plot might be a bit predictable, and some scenes feel overly schmaltzy, but Winslet’s direction brings in some heartfelt surprises, like the brief moment when Connor sees Molly and Julia patch things up. It also highlights how everyone deals with grief in their own way, as Bernie may seem frustrating, but in truth, he really struggles to accept the loss of his beloved wife. Mirren never fails to steal the show in any film, and this one is no exception. I saw on IMDb that the 80-year-old actress bent a few of her own rules (like not playing a cancer patient) to take on this role, because she was drawn to the screenplay. It’s definitely a win for Winslet that she did.

For a story about a bedridden, cancer-stricken mother surrounded by her dysfunctional family, Goodbye June is actually not as somber or gloomy as I expected. Some funny moments help lighten the mood, notably one scene in the kitchen with Stephen Merchant. I’d say this is a pretty unconventional Christmas family flick. It’s definitely a tearjerker, and watching June deal with her terminal illness can be tough, but it’s also really uplifting and heartwarming, carrying a lovely message about valuing your family. The quirky nativity play at the end is funny, charming, and also quite touching, as the entire family, including all the grandkids, gathers to bid farewell to June.

Thoughts on either one of these films? Let’s hear it!