(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)
Maggie Gyllenhaal makes her directorial debut in “The Lost Daughter”, an assured and daring first feature that’s full of surprises both narratively and technically. It’s a worthwhile adaptation of the novella “My Brilliant Friend” by Italian author Elena Ferrante. The book is the first in Ferrante’s four-part series called the Neapolitan Novels and it’s definitely worth seeking out.
Empowered by Gyllenhaal’s keen writing and no-frills direction along with a terrific Olivia Colman lead performance, “The Lost Daughter” offers a subversive examination of motherhood from an angle we rarely (if ever) see in movies. It’s a slippery psychological drama that’s willing and unafraid to challenge cinema’s common perception of women. And it does so with an alarming clarity.
The script is soaked in mystery, beginning in one place before ending somewhere else entirely. The story revolves around an enigmatic 48-year-old woman vacationing in the Greek Isles. What at first feels like a tale of loneliness and loss soon curdles into something dark and sour. And to Gyllenhaal’s credit, she always keeps us guessing while never bending to our expectations.
The sure-footed Colman plays Leda, a literature professor on summer vacation. As she arrives on the picturesque island she’s greeted by Lyle (Ed Harris), the caretaker of the area’s rental properties who lugs her suitcases full of books and clothes to her upstairs apartment. Their exchange provides our first glimpse into Leda’s demeanor. She’s friendly enough but somewhat socially awkward and at times plain-spoken to the point of being off-putting. In this case she wants to be left alone and she has no interest in Lyle’s spiel about the island’s history or how the air conditioner works.
Later Leda makes her way down to the beach to enjoy some peaceful alone time. But any hopes of quiet and solitude are shattered when a large and rambunctious family suddenly arrives. You can see the frustration simmering in Leda’s eyes as the noisy invaders become even harder to digest. But one member of the family catches her attention – a twenty-something mother named Nina (Dakota Johnson) struggling to keep her frisky daughter occupied.
Over time Leda’s curiosity turns into a creepy fixation that triggers flashbacks to her own time as an exasperated young mom. In those scenes, Jessie Buckley plays the younger Leda and she shares a startling symbiosis with Coleman. Their performances are both fueled by a similar emotional intensity and are so in-tune with each other that you never doubt you’re seeing the same woman.
Gyllenhaal’s confidence in her storytelling really shows once the flashbacks are introduced. These scenes fluidly weave into and out of the central story, illuminating the main character with an uncomfortable clarity. I won’t dare spoil where the movie goes, but Leda’s story (both past and present) take us down some roads as unpredictable as they are unsettling.
“The Lost Daughter” quickly becomes a movie built around revelation. Gyllenhaal urges her audience to invest in Leda even if we don’t like what’s revealed about her. But that’s part of the film’s allure. It challenges our perceptions and expectations in a brutally frank way. It isn’t worried about us liking Leda. It’s far more concerned with portraying her honestly. So we’re left with a character so sincerely constructed that some will find her impossible to like. Me? I found myself juggling empathy with disdain for Leda which (I believe) is exactly the conflict the movie wants us to have.
While Maggie Gyllenhaal’s shrewd direction and cagey storytelling are real strengths, her visual choices range from sumptuous to suffocating. DP Hélène Louvart’s reliance on intense close-ups can be overpowering and a part of me wishes she had done more visually with the setting. At the same time, her unfussy approach keeps our focus where it needs to be – on the prickly, complicated Leda. She’s the true centerpiece of this achingly melancholy first feature from Gyllenhaal who shows she has a bright and exciting new future ahead of her.
Cool! What a cast! I presume this is coming to Netflix from the pictures credit?
It absolutely is coming to Netflix. I actually saw this back in November but had to hold the review. Netflix sponsored that screening and will have it on their streaming platform.
I’ll be on it when it happens here.
It’s on netflix now.
In a bit of synchronicity I watched this last night. Just read your full review at the newspaper site. Good analysis of it. There is a dream-like quality to it, where the pain and discomfort that permeates it calls for that barrier of unreality. Searching through the multitude of characters in this one, the only one I felt a shred of empathy for was her husband. The rest, even the children, are despicable! What may be most disturbing for me is what could have been a true vacation in paradise was consumed by this one toxic personality. Ugh! I agree with you, Keith, that the director focused too much on the intense close-ups of the younger and older selves. It felt like someone forcibly holding a hand over an open flame.
Well said. I completely agree with your analyse. I’m glad more people are finally seeing this. I had the good fortune of seeing this back in November at a press screening and it has really left an impression. That ultra-closeup choice though…it can be suffocating. It REALLY was on the big screen.
I have this on my Netflix watchlist as I might watch this one next as I’ve been watching The Power of the Dog for a bit today. I’m eager to see what Maggie can do as she’s one of my favorite actresses and I hope she rocks as a filmmaker.
She has infinite upside as a filmmaker. I was really impressed.
Well written review, I have this on my watchlist! Olivia Colman never fails to pick excellent scripts.
Thanks so much. Colman is sooooooo good in this. One of my favorite performances of 2021.
I thought Maggie’s direction was intimate and appropriate for this story. I liked it but did not love it. Something about the story line kept me aloof.
I can see that. It intentionally wanders in the lead characters headspace which may not work for everyone. “Aloof” is a good way to describe how it left my wife.