The Lost Daughter (B+ or 3.5/4 stars)
'The Lost Daughter', based on a novel, is a psychological drama both adapted & directed for the screen by actress Maggie Gyllenhaal. The film follows the experiences of Leda (Olivia Colman), a middle-aged English professor of Italian literature. Seeking a peaceful & restorative respite, she arrives at a small resort on a remote Greek isle. Although she wants to be alone, 2 men show interest in her - the caretaker at the resort, Lyle (Ed Harris), & young beach attendant, Will (Paul Mescal). Even more intrusive are a series of incidents that chip away at her longed-for sense of calm: a foghorn disturbs her sleep; the fruit in her quaint room is rotten; an enormous bug invades her pillow; and a large pine cone falls from a tree leaves quite the bruise on her back.
Most irritating of all is a loud, boorish American family that arrives & takes over the beach. Though she tries to get some r & r, she finds herself fascinated by the group, particularly beautiful Nina (Dakota Johnson), & her toddler, Elena (Athena Martin), who has frequent temper tantrums. Motherhood may not be what Nina expected and well, Leda can empathize - she sees Nina as a reflection of herself. At one point, Leda offers up, quite bluntly: "Children are a crushing responsibility". And her encounters with these loathsome people cause unsettling memories to percolate to the surface; memories of marital conflict, sadness about her own dysfunctional mother, & loneliness AS a young mother. In flashbacks, we see that younger Leda (Jessie Buckley) really struggled with her role as wife/mommy. And after she engages in an affair (Peter Sarsgaard), she abandons her 5 & 7 yr. old girls for a few years ... something that haunts her every living, breathing minute today.
Okay. So, this movie is the type that can really only be appreciated by two types of audiences. 1) cinephiles who can value something like deep characterizations & ethereal pacing over a substantial plot that lays everything bare. And 2) people who have had similar experiences & feelings to Leda; an overwhelmed parent who is smothered by obligation and realizes that, despite some level of love & care ... they may not be emotionally equipped to be a parent. If you're a parent - in this case, mom - society dictates that you are not allowed to be selfish, have meltdowns, or crave something 'else' -- you must be superhuman. I think other audiences will have a tough time 'getting' the film or forgiving the film's lack of a customary beginning, middle & end.
Olivia Colman is unsurprisingly exceptional, giving an uncompromising portrayal of a flawed woman who has been in a maternal crisis for 20+ years. Colman can be cold, heartbreaking, but also relatable; as she leans into her comedic prowess to show Leda's humanity, i.e., flirtations with the Ed Harris character, kind interactions with the rowdy family. Colman has that innate ability to convey a myriad of micro-emotions during the course of any moment to reveal what's bubbling beneath the surface. She can be funny, sharp, dark, and as is with the best thespians, it's as much about what she doesn't say as what she does. She is simply magnetic to watch; playing a troubled, obsessive observer who must confront her past to better her future relationships. Also convincing is Jessie Buckley as young anguished Leda. And Dakota Johnson, like Colman, can impart the same type of micro-expressions to convey an inner sadness that may not be apparent on the exterior.
As mentioned above, other than the inner turmoil of the characters, not much 'happens' during the course of 'The Lost Daughter', but this film still casts an entrancing spell. Gyllenhaal's directorial debut explores Leda's 'is she crazy, or misunderstood?' psyche & provides enticing mysteries about who she is -- just try to figure out why she does what she does with Elena's doll. I have my thoughts, you'll have yours, and we both may be right. Another mystery is: what's up with Leda's dizzy/fainting spells? Ultimately, even if the narrative itself is on the mundane side, and while I didn't always love the flashback motif, this film uses intangible mood, disorienting camerawork, the exotic locale, & Colman's expertise performance to leave a mesmerizing impression.
Most irritating of all is a loud, boorish American family that arrives & takes over the beach. Though she tries to get some r & r, she finds herself fascinated by the group, particularly beautiful Nina (Dakota Johnson), & her toddler, Elena (Athena Martin), who has frequent temper tantrums. Motherhood may not be what Nina expected and well, Leda can empathize - she sees Nina as a reflection of herself. At one point, Leda offers up, quite bluntly: "Children are a crushing responsibility". And her encounters with these loathsome people cause unsettling memories to percolate to the surface; memories of marital conflict, sadness about her own dysfunctional mother, & loneliness AS a young mother. In flashbacks, we see that younger Leda (Jessie Buckley) really struggled with her role as wife/mommy. And after she engages in an affair (Peter Sarsgaard), she abandons her 5 & 7 yr. old girls for a few years ... something that haunts her every living, breathing minute today.
Okay. So, this movie is the type that can really only be appreciated by two types of audiences. 1) cinephiles who can value something like deep characterizations & ethereal pacing over a substantial plot that lays everything bare. And 2) people who have had similar experiences & feelings to Leda; an overwhelmed parent who is smothered by obligation and realizes that, despite some level of love & care ... they may not be emotionally equipped to be a parent. If you're a parent - in this case, mom - society dictates that you are not allowed to be selfish, have meltdowns, or crave something 'else' -- you must be superhuman. I think other audiences will have a tough time 'getting' the film or forgiving the film's lack of a customary beginning, middle & end.
Olivia Colman is unsurprisingly exceptional, giving an uncompromising portrayal of a flawed woman who has been in a maternal crisis for 20+ years. Colman can be cold, heartbreaking, but also relatable; as she leans into her comedic prowess to show Leda's humanity, i.e., flirtations with the Ed Harris character, kind interactions with the rowdy family. Colman has that innate ability to convey a myriad of micro-emotions during the course of any moment to reveal what's bubbling beneath the surface. She can be funny, sharp, dark, and as is with the best thespians, it's as much about what she doesn't say as what she does. She is simply magnetic to watch; playing a troubled, obsessive observer who must confront her past to better her future relationships. Also convincing is Jessie Buckley as young anguished Leda. And Dakota Johnson, like Colman, can impart the same type of micro-expressions to convey an inner sadness that may not be apparent on the exterior.
As mentioned above, other than the inner turmoil of the characters, not much 'happens' during the course of 'The Lost Daughter', but this film still casts an entrancing spell. Gyllenhaal's directorial debut explores Leda's 'is she crazy, or misunderstood?' psyche & provides enticing mysteries about who she is -- just try to figure out why she does what she does with Elena's doll. I have my thoughts, you'll have yours, and we both may be right. Another mystery is: what's up with Leda's dizzy/fainting spells? Ultimately, even if the narrative itself is on the mundane side, and while I didn't always love the flashback motif, this film uses intangible mood, disorienting camerawork, the exotic locale, & Colman's expertise performance to leave a mesmerizing impression.