Kristen Stewart recently revealed the provocative inspiration behind her latest tattoos during the Cannes Film Festival, where she unveiled her highly anticipated directorial debut, The Chronology of Water. The actress-turned-director made waves at the 78th annual festival with the film, a powerful drama adapted from Lidia Yuknavitch’s memoir about surviving childhood abuse.
Stewart’s tattoos—one reading “WHY” on her bicep and the other “MINE” on her thigh—were heavily influenced by the film’s bold themes, with the latter referencing one of the movie’s most sexually charged scenes.
Tattoos Inspired by a Provocative Scene
In an interview with Vulture, Stewart described how the tattoos came about, explaining that the word “MINE” is connected to a moment in the film where Yuknavitch’s character engages in an intense and sexually explicit act. Stewart recalled the scene, where the character engages in a self-reflective act of pleasure, followed by the powerful lyrics of a song that repeat, “Mine, mine, mine, mine.”
She described the scene as “f**king mine,” adding that the song served as a pivotal moment in the narrative, embodying themes of possession and identity.
The Meaning Behind “WHY” and “MINE”
Stewart, 35, explained that the tattoo of “WHY” on her bicep was a reflection of her creative process in making The Chronology of Water. The two-hour, eighteen-minute film explores themes of abuse, healing, and personal transformation. Stewart noted that the length of the film—unconventional by modern standards—was a deliberate artistic choice, emphasizing that she wasn’t concerned with making the film “digestible” for an audience.
“I didn’t need to make an hour-and-a-half digestible experience so it would be less difficult for the consumer,” she said. “It’s cool that at one point you go, ‘Are we still doing this? Why?’ And I have ‘Why’ tattooed right here,” Stewart explained, pointing to her upper arm.
A Warm Reception at Cannes
The film, which Stewart described as a “labor of love,” has garnered significant praise following its premiere at Cannes on May 16. It received a standing ovation after its initial screening, with critics praising Stewart’s directorial debut. Variety called it a “stirring drama of abuse and salvation, told with poetic passion,” while Indiewire critic David Ehrlich noted that the film “bristles with the raw energy of an artist.”
Stewart expressed her admiration for Yuknavitch’s memoir, describing it as a “living thing” that was crying out to be turned into a film. “I had just never read a book like that that is screaming out to be a movie,” Stewart said. “It needs to be moving, it needs to be alive.”
A Vision of Healing and Joy
Stewart also expressed her admiration for Yuknavitch’s ability to turn painful experiences into something transformative. “The reason I really wanted to make the movie is because I thought it was hilarious in such a giddy and excited way, like we were telling secrets,” she said. “She was able to take really ugly things, process them, and put out something that you can live with—something that actually has joy.”
Stewart’s tattoos and her bold directorial vision reflect her deep connection to the material, further cementing her place as a fearless and innovative figure in Hollywood.
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