Adapting from the novel of the same name Elena Ferrante, Maggie Gyllenhaal makes a striking debut with The Lost Daughter, a wonderfully crafted drama will a little something for everyone that will stick with you long after viewing.
Olivia Colman is once again magnificent in the lead as Leda Caruso, a middle-aged woman taking a solo holiday on a Greek island. There, she meets a variety of people, firstly Ed Harris’ accomodating American Lyle who shows her to her accommodation – a lofty apartment overlooking the sea, high in the hills. There’s also local barman WIll (Paul Mescal), a friendly face on the local beach always eager for a chat, and then the mysterious, and beautiful Nina (Dakota Johnson), who also spends her days mostly on the beach largely relaxing and playing alone with her young daughter. She’s part of a larger group, a family of Americans whose presence is felt when they all descent one hot day.
Early on, Leda is asked to move sunbeds by outspoken Callie (Dagmara Dominczyk) so that the family, but the resilient Yorkshire woman stays put, a decision that you think might have certain ramifications for her, but one that does, in fact, have a rather more realistic outcome. The coin flips when Nina’s child goes missing, Leda leading the hunt to find her, which she eventually does. Hailed a heroine by everyone, including Nina, the singleton achieves god-status amongst the brash Americans, but the event sends echoes of the past flooding back, and flashbacks to her as a younger woman are presented on-screen with Jesse Buckley rather convincingly playing a young Leda.
The film reveals that Leda has two young daughters herself, and the flashbacks explore her relationship with them years previous. Gyllenhaal’s haunting piece balances those scenes with the narrative in the present day as Leda’s holiday continues, perhaps to a devasting conclusion.
The Lost Daughter astonished me when I caught it at an early screening at this year’s BFI London Film Festival, not only for its really strong performances and wonderful direction but also the skillful, affecting screenwriting also from Gyllenhaal, that gave such a lasting impression that I keep thinking about the movie some two months on. I challenge any parent not to feel the same, not just at the scene playing out the devastation of potentially losing one of your offspring, but also of the challenges in bringing them up every single one of us go through, also. The early scenes showing the struggles of parenthood with Jessie Buckley are so spot on, it is scary.
The film is also beautiful to look at, but not overly glossy, either. The stunning scenery on this famous Greek island is far from sun-kissed and sun-drenched, the filmmakers going for a slightly more desaturated look – clearly reflecting the subject matter and mood of the piece. There is a constant threat that something really rather bad is about to happen around every corner, and not for one minute are we, the viewer completely comfortable as we watch it all play out.
I wasn’t prepared for The Lost Daughter, not knowing much about it, but late in 2021, I think it will rank high amongst my favourites of the year. Nearly flawless in every department, the film is deserved for all of the acclaim it is receiving. Make sure your catch this remarkable piece of work at your earliest opportunity, whether it be in cinemas or on Netflix before the year is out.
The Lost Daughter
Summary
Truly one of the best, and most memorable films of the year, and quite the striking debut from writer/ director Maggie Gyllenhaal.
The Lost Daughter is released in select cinemas on 17th December and then on Netflix on 31st December 2021.
