Elana Ferrante, the anonymous Sicilian author of "The Lost Daughter, has dedicated her entire career to the honest depiction of the complexities of what it means to be a woman. In this regard, Maggie Gyllenhall was wildly successful in her adaption of "The Lost Daughter", delivering a marvel of a screenplay that is able to tap the essence of Ferrante's work by offering an unflinching glimpse into the idealism of motherhood and then tearing it to shreds. The writing of Ferrante, infamously dense, is not easy source material to adapt into a cinematic format, instead of typical plot-driven fiction, she opts for a more heady and internally based story structure, which is why it's such a feat that Gyllenhall is able to make her script even remotely entertaining.
However, the script alone isn't what makes this movie good. It has a significant assist by three actresses: Olivia Colman in the titular role, Jessie Buckley as her younger half, and Dakota Johnson as a new mother of intrigue. Olivia Colman has clearly reached the new golden era of her career with stunning back-to-back performances: The Favorite, Flea Bag, The Crown, The Father, and now once again we find ourselves lauding her much deserved praise. Colman turns a mother, with plenty not to like, into a character that you just can't tear your eyes away from. Colman so deftly manages the swirl of emotions and outbursts of anger her character was prone to without ever showing her cards. Jessie Buckley, as her younger half, arguably gives the only warm performance in the entire film, a sharp decision in contrast to Colman's cold exterior. The merging of their singular character is helped by the incredible editing of Affonso Goncalves. Not only doing wonders for their character but the story as a whole by shuffling the order of events. Side Note: The audience is able to feel Colman's suffocation around children so thoroughly, not only because of her acting but because of the intimately claustrophobic cinematography and the unbearably well-designed sound mixing (which never lets you forget when there's a crying child in the background).
For all Gyllenhall does right here, there are a few missteps that make it hard to truly love this film. First, due to the very subtle nature of the script and the "beneath the surface" aspects of the performances, you can feel a bit emotionally isolated from all of the characters. I found myself constantly questioning if you actually cared about what's happening to any of them when it's obvious we should have. Second, the ending doesn't quite work, with Dakota Johnson invoking her mafia husband, as this was a barely established plot point that wasn't nearly developed enough to use as a cornerstone in one of the final developments in the story.
The Lost Daughter is an uncomfortable raw character study and vicious critique of what society expects from motherhood that's missing just a few key elements to seamlessly blend its story, message, and audience connectivity together.
However, the script alone isn't what makes this movie good. It has a significant assist by three actresses: Olivia Colman in the titular role, Jessie Buckley as her younger half, and Dakota Johnson as a new mother of intrigue. Olivia Colman has clearly reached the new golden era of her career with stunning back-to-back performances: The Favorite, Flea Bag, The Crown, The Father, and now once again we find ourselves lauding her much deserved praise. Colman turns a mother, with plenty not to like, into a character that you just can't tear your eyes away from. Colman so deftly manages the swirl of emotions and outbursts of anger her character was prone to without ever showing her cards. Jessie Buckley, as her younger half, arguably gives the only warm performance in the entire film, a sharp decision in contrast to Colman's cold exterior. The merging of their singular character is helped by the incredible editing of Affonso Goncalves. Not only doing wonders for their character but the story as a whole by shuffling the order of events. Side Note: The audience is able to feel Colman's suffocation around children so thoroughly, not only because of her acting but because of the intimately claustrophobic cinematography and the unbearably well-designed sound mixing (which never lets you forget when there's a crying child in the background).
For all Gyllenhall does right here, there are a few missteps that make it hard to truly love this film. First, due to the very subtle nature of the script and the "beneath the surface" aspects of the performances, you can feel a bit emotionally isolated from all of the characters. I found myself constantly questioning if you actually cared about what's happening to any of them when it's obvious we should have. Second, the ending doesn't quite work, with Dakota Johnson invoking her mafia husband, as this was a barely established plot point that wasn't nearly developed enough to use as a cornerstone in one of the final developments in the story.
The Lost Daughter is an uncomfortable raw character study and vicious critique of what society expects from motherhood that's missing just a few key elements to seamlessly blend its story, message, and audience connectivity together.