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We are THRILLED to announce that Like the Water will have its WORLD PREMIERE exactly where is belongs: at the Maine International Film Festival, almost one year to the date after we started shooting. (Depending on when they schedule us, it might be 365 days on the nose…Well, 366 because of the leap ye- well anyway you get the picture.)

The festival takes place July 13-23 in Waterville, Maine. We hope as many of you as possible will be able to join us at some point during the festival, both for the film and because Maine is utterly awesome in the summer. (You should think about making a movie there!)

The Picture

Like the Water follows Charlie, a young journalist, as she returns to her hometown of Camden, Maine to write and give the eulogy at her childhood friend’s memorial. But she finds in the wake of her loss, the once familiar landscape of her life – her oldest friends, a family home, and the town where she knew every fence and tree – seems permanently altered. The stunning summer terrain of Maine and the warmth of her small town feels too vibrant – almost a betrayal.  Some manage to assimilate grief gracefully, but for most it is a messy struggle, which shines a light the darkest corners of oneself.

The seed of this film was planted in the winter of 2010. After working together on John Gould Rubin’s Hedda Gabler in New York, six women convened around their shared artistic spirit with a profound appreciation for one another’s diverse voices. Caitlin FitzGerald had always wanted to make a film in her hometown of Camden, Maine. She and Caroline von Kuhn had great interest in writing a script together to showcase and collaborate with this inspiring group of women. Caitlin and Caroline discovered a deeply formative shared story: both lost lifelong friends in their early twenties. Both had found that encountering mortality at a young age, especially of a contemporary, provoked a seismic shift in the way they came to understand the world. They had not only shared experiences of grief, but had turned to writing in a therapeutic attempt to capture and express something ultimately inchoate: the memory of a life.

Caitlin and Caroline had felt they ran up against the insufficiency of language to express the fullness of their experience. The medium of film allows a fuller exploration of the chaos of grief, the beauty and lushness of Maine, and how memory both entices and betrays us. At some point, provoked by a tragic event or simply the confluence of people, ideas, and places, we all face Charlie’s turning point, where we are forced to grow in spite of ourselves.

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