With Hedda, Nia DaCosta is at the top of her game. This reimagining of Henrik Ibsen's renowned 1891 play Hedda Gabler puts a sapphic spin on the story. It’s a provocative, tempestuous power play about a lavish gathering gone awry.

There is a quote often attributed to the Greek philosopher Heraclitus that reads, “No man ever steps in the same river twice, for it is not the same river and he is not the same man.” With her directorial debut, Kristen Stewart channels that concept into cinema in more ways than one. The protagonist in The Chronology of Water, Lidia (Imogen Poots), is a swimmer who constantly finds herself submerged under water in both the literal and metaphorical sense. The water serves as both her refuge and a mirror, reflecting her memories, trauma, and continual transformation with every dive and stroke. At one moment, she observes, “I was a different person then,” a quiet acknowledgment that, like the river Heraclitus described, she is never the same woman from one moment to the next. The film itself mirrors this fluidity: every viewer will take away something different, and each viewing will reveal new currents and depths, subtle textures that may have gone unnoticed the first time, making the experience as mutable and alive as Lidia herself.