Latest news with #TheChronologyofWater
Sydney Morning Herald
24-07-2025
- Entertainment
- Sydney Morning Herald
Kristen Stewart was warned not to make this film. She almost blew it
When Kristen Stewart read Lidia Yuknavitch's cult memoir The Chronology of Water, she immediately felt herself to be part of the writer's tribe. 'There are certain pieces that unlock you, whether it's a book or a movie or a relationship you have or just a conversation you have with someone, that can lead you to understand you aren't listening to yourself the way you should be,' she says. Yuknavitch's book surges forward from her childhood with an abusive father and permanently sedated mother, through youthful addiction and tortured relationships, to her realisation – guided by her mentor, One Flew Over the Cuckoo's Nest author Ken Kesey – that she is a writer. Stewart was only halfway through reading it when she contacted Yuknavitch to ask if she could make it into a film. Speaking in Cannes, where her adaptation was screening at the annual film festival, she calls the book 'a lifesaving piece of material'. 'This book is like the keys to your own castle. And I thought when I read it that if I had this relationship to it, I couldn't be alone. It's such a personal interaction you have with reading a book, but I wanted to do it out loud and with other people.' Stewart, 35, has been famous – and famously uncomfortable with it – since playing a young woman in love with a vampire in the $US3.3 billion Twilight saga. Being Bella Swan made her reportedly the highest-paid actress in the world. Since that franchise wrapped in 2012, however, she has worked largely outside the mainstream, with independent directors including Olivier Assayas (Clouds of Sils Maria in 2014, for which she won a French Cesar), Kelly Reichardt (Certain Women in 2016) and Pablo Larrain (the 2021 film Spencer, an extraordinary performance that earned her Golden Globe and Oscar nominations). For a good chunk of that time she was also working on The Chronology of Water. Loading It was a formidable challenge, but nothing could dissuade her. 'I've been associated with [producer] Charles Gillibert since I was 20. He told me when I sent him this script years ago, 'You should not do this: it's too big; it's too expensive; find something more personal'. And I said, 'Honestly, if you say that to me again, we're not going to be friends any more'.' There were screaming matches but, in the end, he backed her. 'And he didn't believe in it. I know that. I know him! But he did it anyway because I wanted it so much.' In Cannes, it seemed the gamble had paid off: reviews were glowing. Stewart always brings a kinetic energy to her performances. In person, she is intense, agitated, fiercely alive and not a little unnerving. The Chronology of Water shares these qualities. What could be made as a conventional biopic – albeit of a fictionalised figure, since Stewart says The Chronology of Water isn't actually a literal document of Yuknavitch's life – is chopped about, shuffled and fractured, so that we must actively piece it together. There are scenes that flash backward and forward in time, like a metronome swinging between what just happened and what is about to happen. Simple actions are sliced up with jump-cuts; random sounds stream in from past scenes. 'Time,' says Stewart, 'is so non-linear.' At the heart of the melee is Imogen Poots, now 36, but playing Lidia from her teenage years as a high-school swimming champion to middle age. It is a vast span of years for any actor to try to cover, but she manages it by sheer force of conviction. Loading 'She really had skin in the game,' says Stewart. 'She's been acting as long as I have – and therefore I know there are roles and safeguards and ways she has figured out how to protect the more tender parts of herself. 'And that actually doesn't make for a good performance. But there is a whole cycle of holding back and letting go – and I just got her in the perfect moment. We looked at each other and she said, 'I think I just want to let it all out, lay it all on the line'. 'Then we made it like a sports movie. She got two hernias making this movie, Literally, two! But she didn't tell me 'til afterwards. And I was like, 'You're out of your f---ing mind, why didn't you tell me?' And she said, 'I didn't want you to pull the leash. I didn't want you to think I couldn't do it.' I love her so much.' The production was fraught in other ways. Stewart's scattered description suggests that her long-gestating script, written with Andy Mingo, was binned almost immediately they began shooting. 'The movie was a total shipwreck,' she says. 'I had constructed what I thought was this unsinkable Titanic. And immediately it became a paper boat on the ocean. We were looking at death every day' – of her perfect script, of her careful preparation, of her treasured images – 'which is totally what the movie is about, a rebirth after losing something.' Loading People told her that first films always felt like that. No, she says. This was worse. 'It was a precarious situation.' She and the cinematographer, Corey Waters, 'free-jazzed' the movie she had in her mind's eye. In Waters, she says, she discovered a brother. Other department heads were sacked and replaced during production. That was risky, obviously, but 'essential to protect the movie and create the life that it has'. 'And it's such a lucky thing the movie was getting f---ed. When I got back from the shoot, I realised I was opening all these gifts. The movie had a life of its own, so it had a memory. And once we had created all of the pictures, they had an emotional connectivity and sense memory that you could see.
The Age
24-07-2025
- Entertainment
- The Age
Kristen Stewart was warned not to make this film. She almost blew it
When Kristen Stewart read Lidia Yuknavitch's cult memoir The Chronology of Water, she immediately felt herself to be part of the writer's tribe. 'There are certain pieces that unlock you, whether it's a book or a movie or a relationship you have or just a conversation you have with someone, that can lead you to understand you aren't listening to yourself the way you should be,' she says. Yuknavitch's book surges forward from her childhood with an abusive father and permanently sedated mother, through youthful addiction and tortured relationships, to her realisation – guided by her mentor, One Flew Over the Cuckoo's Nest author Ken Kesey – that she is a writer. Stewart was only halfway through reading it when she contacted Yuknavitch to ask if she could make it into a film. Speaking in Cannes, where her adaptation was screening at the annual film festival, she calls the book 'a lifesaving piece of material'. 'This book is like the keys to your own castle. And I thought when I read it that if I had this relationship to it, I couldn't be alone. It's such a personal interaction you have with reading a book, but I wanted to do it out loud and with other people.' Stewart, 35, has been famous – and famously uncomfortable with it – since playing a young woman in love with a vampire in the $US3.3 billion Twilight saga. Being Bella Swan made her reportedly the highest-paid actress in the world. Since that franchise wrapped in 2012, however, she has worked largely outside the mainstream, with independent directors including Olivier Assayas (Clouds of Sils Maria in 2014, for which she won a French Cesar), Kelly Reichardt (Certain Women in 2016) and Pablo Larrain (the 2021 film Spencer, an extraordinary performance that earned her Golden Globe and Oscar nominations). For a good chunk of that time she was also working on The Chronology of Water. Loading It was a formidable challenge, but nothing could dissuade her. 'I've been associated with [producer] Charles Gillibert since I was 20. He told me when I sent him this script years ago, 'You should not do this: it's too big; it's too expensive; find something more personal'. And I said, 'Honestly, if you say that to me again, we're not going to be friends any more'.' There were screaming matches but, in the end, he backed her. 'And he didn't believe in it. I know that. I know him! But he did it anyway because I wanted it so much.' In Cannes, it seemed the gamble had paid off: reviews were glowing. Stewart always brings a kinetic energy to her performances. In person, she is intense, agitated, fiercely alive and not a little unnerving. The Chronology of Water shares these qualities. What could be made as a conventional biopic – albeit of a fictionalised figure, since Stewart says The Chronology of Water isn't actually a literal document of Yuknavitch's life – is chopped about, shuffled and fractured, so that we must actively piece it together. There are scenes that flash backward and forward in time, like a metronome swinging between what just happened and what is about to happen. Simple actions are sliced up with jump-cuts; random sounds stream in from past scenes. 'Time,' says Stewart, 'is so non-linear.' At the heart of the melee is Imogen Poots, now 36, but playing Lidia from her teenage years as a high-school swimming champion to middle age. It is a vast span of years for any actor to try to cover, but she manages it by sheer force of conviction. Loading 'She really had skin in the game,' says Stewart. 'She's been acting as long as I have – and therefore I know there are roles and safeguards and ways she has figured out how to protect the more tender parts of herself. 'And that actually doesn't make for a good performance. But there is a whole cycle of holding back and letting go – and I just got her in the perfect moment. We looked at each other and she said, 'I think I just want to let it all out, lay it all on the line'. 'Then we made it like a sports movie. She got two hernias making this movie, Literally, two! But she didn't tell me 'til afterwards. And I was like, 'You're out of your f---ing mind, why didn't you tell me?' And she said, 'I didn't want you to pull the leash. I didn't want you to think I couldn't do it.' I love her so much.' The production was fraught in other ways. Stewart's scattered description suggests that her long-gestating script, written with Andy Mingo, was binned almost immediately they began shooting. 'The movie was a total shipwreck,' she says. 'I had constructed what I thought was this unsinkable Titanic. And immediately it became a paper boat on the ocean. We were looking at death every day' – of her perfect script, of her careful preparation, of her treasured images – 'which is totally what the movie is about, a rebirth after losing something.' Loading People told her that first films always felt like that. No, she says. This was worse. 'It was a precarious situation.' She and the cinematographer, Corey Waters, 'free-jazzed' the movie she had in her mind's eye. In Waters, she says, she discovered a brother. Other department heads were sacked and replaced during production. That was risky, obviously, but 'essential to protect the movie and create the life that it has'. 'And it's such a lucky thing the movie was getting f---ed. When I got back from the shoot, I realised I was opening all these gifts. The movie had a life of its own, so it had a memory. And once we had created all of the pictures, they had an emotional connectivity and sense memory that you could see.
Buzz Feed
01-07-2025
- Entertainment
- Buzz Feed
Newly Added Movies To Stream On Hulu
28 Weeks Later (2007) This overlooked installment of the 28 franchise — a stand-alone story about forever wars and police states — might only feature credits from Alex Garland and Danny Boyle in a producer capacity, but it's still worth a stream if you're hyped on the critically acclaimed 28 Years Later that just hit theaters. (And the two more entries are on their way.) This surprise-hit sequel built on a ratcheted-up budget features an impressive ensemble cast, including two stars who you'll most certainly be hearing more about this Awards Season: Imogen Poots (The Chronology of Water) and Rose Byrne (If I Had Legs I'd Kick You). Plus, Idris Elba stars as the U.S. general and Jeremy Renner as Sergeant Doyle. There are no massively hung zombies to the best of my knowledge. Watch it on Hulu. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006) Ranked 53 on the New York Times' recent list of the 100 best movies of the century, this raunchy satire from the mid-aughts featuring Sacha Baron Cohen is a fascinating time capsule of American politics and culture. Pamela Anderson, the Playboy Playmate who has reintroduced herself to the world in recent years as a bona fide screen actor (The Last Showgirl) and makeup-ditching model, stars as the object of the Kazakh TV reporter's obsession. Legend has it that her surprise appearance in the film was the reason for Anderson's split with Kid Rock. Just one more reason to be thankful for this it on Hulu. Before Midnight (2013) Richard Linklater is the undisputed king of the passage of time. He's got Boyhood, shot over 12 years, the forthcoming Merrily We Roll Along, which will be shot over 20 years, and, of course, there's Before Midnight, the last entry of the Before Trilogy. In it, we catch up with Jesse (Ethan Hawke) and Celine (Julie Delpy), who are now in their 40s on a summer vacation in Greece. Much has changed since their early 20s when they randomly met on a train from Budapest to Vienna in Before Sunset. Namely, they live together and have twin daughters. But what hasn't, is their verbal sparring, spanning all matters of life and death. In his review of the film, the New York Times' A.O. Scott explained the paradox of its existence: "[It is] a movie passionately committed to the ideal of imperfection that is itself very close to perfect."Watch it on Hulu. The Banshees of Inisherin (2022) This deeply Irish dark comedy from acclaimed playwright Martin McDonagh received more Oscar nominations than Brendan Gleeson's character Colm would be able to count on two hands. (Nine, for those wondering.) However, where wins were concerned, it nearly bested the record for shutouts, taking home zero trophies. All of this is to say: Don't let this film, which now feels like a relic of our post-lockdown moment, disappear from the history books. Its themes of loneliness and isolation resonated with viewers in 2022 as they struggled to reembed themselves in society, but it'll hit in a different way now, as we navigate parallel themes of war, destruction, and the search for meaning. Colin Farrell, Barry Keoghan, Kerry Condon, and Gleeson act their butts (and fingers) off while giving us some of the most enviable knitwear looks ever documented to it on Hulu. No Hard Feelings (2023) Jennifer Lawrence has never been funnier than she is here in this criminally underrated romcom from Gene Stupnitsky. Lawrence plays a Montauk Uber driver hired to take a nerdy 19-year-old's virginity. That 19-year-old, played to awkward perfection by Andrew Barth Feldman, is blissfully unaware of this arrangement as he begins to develop very real feelings (and the self-confidence to sing a cover of "Maneater" at an upscale restaurant) for Lawrence's Maddie. Even if you can guess how this story ends, it is still totally worth the ride — filled with some of the very best physical comedy of the last decade. Including, of course, that infamous, fully-nude beach fight scene. (Potentially, a great trial run for her Die, My Love scene with Robert Pattinson.)Watch it on Hulu. Enough Said (2013) With so much discourse at the moment about what should be considered a "romcom," it's kind of refreshing to stream a film that is crystal-clear about its romcom intentions. As is the case with Nicole Holofcener's witty and heartwarming Enough Said about a divorced woman (Julia Louis-Dreyfus) who finds herself in a bind when she learns that the man she has just started seeing (James Gandolfini) is the ex that her new friend and client (Catherine Keener) has been trashing. We know that Keener and Louis-Dreyfus, two muses of the writer-director, can consistently deliver on her scripts — but it is Gandolfini who is the revelation here. Without the late actor, who plays against type as a sloppy but well-meaning mensch, the film simply does not pack the same punch. Watch it on Hulu. A Complete Unknown (2024) While it never quite reached the heights of Elvis and Rocketman at the box office, this Bob Dylan biopic is hardly an unknown. If not for the revelatory, Golden Globe-winning Timothée Chalamet performance at its center, A Complete Unknown will certainly be remembered for the game-changing (or, unhinged) press tour that accompanied it — complete with a double-duty SNL episode, a Theo Von interview, and a University of Minnesota visit. Monica Barbaro has her big, breakout moment here as Joan Baez, while Edward Norton disappears into the role of the folk music legend Pete Seeger. It's a rare music biopic that everyone of all generations can agree on — so don't hesitate to make it your next choice for family movie night. Watch it on Hulu. Presence (2024) Leave it to Steven Soderbergh to give us not one, but two, bangers within a year. The less buzzed-about, but equally deserving of your streaming time, film was Presence — a chilling ghost story unlike anything I've seen before. (Though, if you forced me to compare it to existing films, I'd say it brings to mind elements of Olivier Assayas's Personal Shopper and David Lowery's A Ghost Story.) Shot from the perspective of the ghost, this never-dull atmospheric thriller filled with spooky, tracking shots, slowly builds to a satisfying twist. Just don't go into this one expecting jump scares (or, much screen time from Julia Fox, for that matter, who was used in the marketing of the film) because you will be utterly disappointed. Watch it on Hulu. Bridesmaids (2011) Hold on for one more day 'cause it's gonna go your way! Saoirse Ronan's favorite movie is a hilarious two-hour romp filled with raunchy jokes, jealousy, explosive diarrhea, and tender lessons on friendship. It's also a strong case for why comedic performances (like Melissa McCarthy's, which was nominated in the Best Supporting Actress category at the Oscars) can and *should* be recognized by the stuffiest and most elite awards it on Hulu. Holes (2003) This adaptation of Louis Sachar's YA novel, which made for an unexpected moment of connection between two castaways on Season 48 of Survivor, is clearly still fresh in the minds of millennials today who once shopped the Scholastic book fair. (Much to the dismay of Shia LeBeouf who, in 2016, called the film just "okay.") While I cannot guarantee that this quirky-bordering-on-incomprehensible film will land quite the way it did as a kid, there is an eerie satisfaction in clocking all the actors opposite LaBeouf that probably went unnoticed the first time around. Think: Sigourney Weaver, Patricia Arquette, Jon Voight, Tim Blake Nelson, and Henry Winkler. Watch it on Hulu. Mamma Mia! (2008) The blockbuster hit, which we called the "movie of the vaccinated summer" back in 2021, remains an essential summer streaming tradition — pandemic or not. Between its earworm-y jukebox tunes from '70s Swedish pop band ABBA, stacked cast (including four Oscar nominees), and eternally optimistic worldview, there's really an endless well of things that make a rewatch worthwhile. For one of the most utterly baffling performances in recent memory — I'm talking about that Cher number, of course — you'll have to follow it up with a viewing of the sequel (and prequel) Mamma Mia! Here We Go Again, conveniently also streaming on Hulu. Watch it on Hulu. Force Majeure (2014) In this heady Swedish dramedy from Ruben Östlund (Triangle of Sadness), one father's instinct to bolt, rather than protect his family, as an avalanche heads toward them on a ski trip, brings some hard truths to the surface. Do not be misled by Downhill, the 2020 English-language remake starring Julia Louis-Dreyfus and Will Ferrell that's been panned by critics — the original is actually very good! (Sofia Coppola, who listed it as one of her favorite films of the 21st century, agrees with me.)Watch it on Hulu. National Anthem (2024) You might know him as that hot cowboy photographer from Instagram. Allow Luke Gilford to reintroduce himself as the talented filmmaker behind National Anthem. Told through his signature lush images, the photographer's debut feature film situates us in New Mexico as a 21-year-old construction worker (Charlie Plummer, who you may have also seen riding horses in Lean on Pete) finds himself immersed in the queer rodeo community. If Brokeback Mountain is the entirety of your queer-cowboy media diet, do yourself a favor and press play on this hidden gem. Watch it on Hulu. The Seed of the Sacred Fig (2024) Mohammad Rasoulof's powerful, fourth wall-breaking family drama that exposes much of Tehran's political turmoil was able to get made in secret and find global distribution — but not without consequence. Rasoulof was sentenced to eight years of prison in Iran and subsequently fled to Germany, along with the film's two stars Setareh Maleki and Mahsa Rostami. Rasoulof is not German, and there is no German language spoken at any point in the film; however, Germany opted to submit the film for Best International Film at the Oscars in lieu of Iran. That certainly gave the film some much-needed visibility but not nearly the amount it deserves. Thankfully, this important piece of filmmaking is now widely accessible stateside on streaming. Watch it on Hulu. Fruitvale Station (2013) Loved Sinners? Well, Hulu has just made it easy to go deep on the Ryan Coogler filmography. His debut feature film, Fruitvale Station — a small but striking Sundance indie made on a shoestring budget — was an announcement to the world that a major, young talent had arrived, ultimately earning him his blank check for massive blockbuster hits Creed and Black Panther. It also made clear a very special creative partnership had been forged between Michael B. Jordan and Coogler (who have since teamed up for every feature film). Fruitvale Station tells the real-life story of Oscar Grant (Jordan), a 22-year-old man fatally shot by Bay Area Rapid Transit (BART) police officers (played by Chad Michael Murray and Kevin Durand).Watch it on Hulu. Decision to Leave (2022) Park Chan-wook doesn't miss. The king of labyrinthian storytelling (Old Boy, The Handmaiden) delivered another instant classic in 2022 with Decision to Leave. Part love story, part murder mystery, the Korean auteur's Cannes hit surprised critics and fans alike by deviating from his usual (spectacularly graphic) mode of filmmaking. The story about a romance between a Busan detective and his prime suspect might feel more restrained, but there's no shortage of Chan-Wook's signature dark humor it on Hulu. Meet the Parents (2000) Meet the Parents 4, starring Ariana Grande along with returnees Ben Stiller, Robert De Niro, and probably not Barbara Streisand unless they pay her a lot of money, is finally underway, and the news seems to have been warmly received so far. It has been 15 years since the last installment in the franchise, after all — just enough time to make us feel nostalgic for lines like 'I Have Nipples, Greg, Could You Milk Me?' and also forget that the last two movies were kind of letdowns relative to the comedy-perfection of the first. My recommendation: Return to where all the Focker magic began with this 2000 gem, which will almost certainly unlock some forgotten memories for millennials who grew up on Blockbuster it on Hulu. Stream all of these movies on Hulu.
Yahoo
23-05-2025
- Entertainment
- Yahoo
Kristen Stewart Described Being A Woman As A "Really Violent Experience," And Here's Why
This article discusses topics of physical and sexual abuse. Kristen Stewart is making her feature film directorial debut with The Chronology of Water, and now she's sharing the reason why she pursued this deeply personal project. The movie is a biographical drama based on the memoir of the same name by Lidia Yuknavitch. It follows an aspiring Olympic swimmer who flees her abusive home life thanks to a Texas scholarship, but later loses the scholarship due to an addiction. She eventually finds solace through writing and her journey of self-discovery, ultimately learning how to transform trauma into art. Kristen co-wrote the screenplay with Lidia's husband, film producer Andy Mingo. While promoting The Chronology of Water at the 78th annual Cannes Film Festival in France, Kristen sat down with Brut India to discuss this harrowing story about physical and sexual violence against women. Related: "Rude, Crass, Entitled Piece Of Garbage": People Are Revealing Their Best And Worst Celebrity Encounters, And These Are Genuinely Soooo Fascinating "Because being a woman is a really violent experience," Kristen began saying, when asked why she wanted to tell this story. "Even if you don't have the sort of extreme experience that we depict in the film, or that Lydia endured and came out of beautifully." "To be able to take really ugly things, metabolize them, process them, and put out something that you can live that actually has joy — pain and pleasure, there's a hairline fracture there. They're so tied." Related: 13 Celebs Who Opened Up Publicly About Their Sobriety "Women are — not to be dramatic, it's just these are facts — we are secrets. We are walking secrets." She then reflected on how she feels women are viewed in the world — "We wanna see you, we don't wanna hear you. Don't tell us how you feel; it makes us uncomfortable." "The thing is," Kristen continued, "we're harboring a lot of violence all of the time, and it's even in the imagery we consume." Kristen believes women, or as she described it, "anyone who is open and bleeding, which is 50 percent of the population," will really resonate with the themes in the film because of a lot of the shared experiences women have dealt with as a collective. "The stories we tell ourselves are very, very important, and finding your fellows, and being able to allow that story to evolve constantly, and that you can change every day, and that there's not a fixed what keeps us thriving, moving forward, everything." "I'm not alone in that. That's how we stay alive." I love how passionately she speaks of this project and everyone involved in it. You can watch Kristen's full Brut India interview below: If you or someone you know is in immediate danger as a result of domestic violence, call 911. For anonymous, confidential help, you can call the 24/7 National Domestic Violence Hotline at 1-800-799-7233 (SAFE) or chat with an advocate via the website. If you or someone you know has experienced sexual assault, you can call the National Sexual Assault Hotline at 1-800-656-HOPE, which routes the caller to their nearest sexual assault service provider. You can also search for your local center here. Also in Celebrity: 19 Celebrities Who Are Way Smarter Than You Thought They Were — Like, One Is A Neuroscientist Also in Celebrity: Cassie Finally Broke Her Silence After Kanye West Decided To Publicly Support Diddy, And Her Response Is Exactly What Everyone Has Been Saying Also in Celebrity: 9 Celebrities Who Have Endorsed Donald Trump In The Past Month
Buzz Feed
23-05-2025
- Entertainment
- Buzz Feed
Why Kristen Stewart Calls Womanhood "Really Violent"
Kristen Stewart is making her feature film directorial debut with The Chronology of Water, and now she's sharing the reason why she pursued this deeply personal project. The movie is a biographical drama based on the memoir of the same name by Lidia Yuknavitch. It follows an aspiring Olympic swimmer who flees her abusive home life thanks to a Texas scholarship, but later loses the scholarship due to an addiction. She eventually finds solace through writing and her journey of self-discovery, ultimately learning how to transform trauma into art. Kristen co-wrote the screenplay with Lidia's husband, film producer Andy Mingo. While promoting The Chronology of Water at the 78th annual Cannes Film Festival in France, Kristen sat down with Brut India to discuss this harrowing story about physical and sexual violence against women. "Because being a woman is a really violent experience," Kristen began saying, when asked why she wanted to tell this story. "Even if you don't have the sort of extreme experience that we depict in the film, or that Lydia endured and came out of beautifully." "To be able to take really ugly things, metabolize them, process them, and put out something that you can live that actually has joy — pain and pleasure, there's a hairline fracture there. They're so tied." "Women are — not to be dramatic, it's just these are facts — we are secrets. We are walking secrets." She then reflected on how she feels women are viewed in the world — "We wanna see you, we don't wanna hear you. Don't tell us how you feel; it makes us uncomfortable." "The thing is," Kristen continued, "we're harboring a lot of violence all of the time, and it's even in the imagery we consume." Kristen believes women, or as she described it, "anyone who is open and bleeding, which is 50 percent of the population," will really resonate with the themes in the film because of a lot of the shared experiences women have dealt with as a collective. "The stories we tell ourselves are very, very important, and finding your fellows, and being able to allow that story to evolve constantly, and that you can change every day, and that there's not a fixed what keeps us thriving, moving forward, everything." "I'm not alone in that. That's how we stay alive." I love how passionately she speaks of this project and everyone involved in it. You can watch Kristen's full Brut India interview below:
