Without explicitly saying the question so as not to spoil, Olivia Colman’s Leda has a genuinely shocking response that is seemingly unheard-of in film. Put it this way: The Lost Daughter won’t be receiving any playtime on Mother’s Day, but it will be watched repeatedly by those that enjoy reading into psychological complexities, exploring darker and broken characters, and for anyone that recognizes Olivia Colman as one of the greatest talents working today. Naturally, she’s outstanding here, able to find empathy and humanity despite making some difficult life choices that she regrets. It’s assuredly an accomplished directorial debut from Maggie Gyllenhaal, adapting the book of the same name by Elena Ferrante, focusing on visual poetry and internal emotion from its characters.
Vacationing in Italy for the summer, Leda is an accomplished professor, albeit one with a lot weighing down her consciousness. When introducing herself to others, she reveals that she has two grown children, although she appears to have a complicated relationship what them that will be understood over time with flashbacks. The very presence of children also seems to throw her off balance mentally in concerning ways. There’s not much rest and relaxation going on, and outside noise such as a booming lighthouse going off all night doesn’t help. IMDB