The Lost Daughter: In one film, Maggie Gyllenhaal becomes a filmmaker to follow [critique]

With this adaptation of a novel by Elena Ferrante, Maggie Gyllenhaal signs a first moving film and offers a powerful role to Olivia Colman.

The Lost Daughter arrives today on Netflix. And Maggie Gyllenhaal end the year well! The actress succeeds hands down her passage behind the camera. Here is our review of this film carried by Olivia colman and Dakota johnson, as well as an interview with its director:

Meeting with Maggie Gyllenhaal at the Lumière Festival

Leda is approaching fifty and offers herself a few days of vacation on a Greek island. She has two daughters whom she no longer sees and feels guilty for this abandonment. Gradually, the loneliness, the arrival of noisy neighbors on the beach and a strange disappearance will take the story towards a devastating personal and intimate maelstrom. Adapted from a novel by Elena Ferrante (Stolen doll), the film bears the imprint of the Neapolitan writer and reflects on love, the status of women and their place in society, recounting the sacrifices Leda had to make to be fulfilled. But if Lost daughter is the story of a empowerment feminine, it is above all the affirmation of a singular voice, that of the filmmaker. The film starts
first on the rails of the genre: a woman alone on a Greek island; the camera which lets hover the diffuse feeling of being observed; the disappearance of a child… Voyeurism, existential dizziness, slow tempo and empty sets: it feels like an Antonioni film or a racy thriller from the 70s. Until, suddenly, by going back and forth- temporal returns, Gyllenhaal explodes his story into a thousand pieces. It is from this scattering that the real drama will be born, carried by an extraordinary Olivia Colman (Jessie Buckley is no less) and by a sense of the romantic which excuses some weaknesses. In one film, Gyllenhaal becomes a filmmaker to follow.

May the fervent readers of l’Amie Prodigieuse be reassured: this series version is off to a good start [critique]

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