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The acting is phenomenal, especially from Olivia Colman and Jessie Buckley, and it does an excellent job of getting the audience to understand the stress of parenthood. However, the film tried to build up so much tension that never reached its breaking point. Rather, it fizzles out in a very disappointing finale.

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.

The movie is really thought provoking. Although I watched it a few weeks ago, I still think about it. The actors are very good. Especially Olivia Coleman and her younger counterpart do an amazing job. The story is not coherent, sometimes you think where does this go? ...but actually I liked this story telling style, because it is close to real life. These things happen, people behave in this way and there is not always a clear explanation given, you need to understand and find out by yourself. Overall a really good movie, recommend to watch it, especially if you have kids. I believe every parent could understand.

British literature professor Leda Caruso (Olivia Colman) went to Greece on a summer holiday. While she was on the beach, she finds herself obsessively observing an attractive young woman Nina (Dakota Johnson) with her headstrong little daughter Elena (Athena Martin). This made her recall her younger self in her 20s (Jesse Buckley) raising her own two daughters Bianca and Martha (Robyn Elwell and Ellie Blake).

Colman's 48-year old Leda looked like a mild-mannered academic at first glance. However, this film slowly revealed that she carries heavy psychological baggage within her over the years. These painful issues mainly revolved around her tumultuous relationship with her daughters when they were little girls, triggered back to life by seeing the seductive Nina and her Elena. More disturbing details would further unravel as Elena's doll went missing.

It was fascinating to watch Colman and Buckley's consistent portrayals of Leda at two ages in her life. Colman's Leda displayed some testy behavior that did not seem to fit the usual profile of a respectable woman of her age and stature. It was only upon meeting Buckley's young Leda through flashbacks can we understand Colman's Leda's breakdown upon meeting Nina, seeing how they shared the same dilemmas when it came with their daughters and men.

True to her provocative name from Greek myth, Leda was a woman of passion. While Buckley's young Leda had a husband Joe (Jack Farthing), she was also drawn to the intellectual genius and masculine confidence of fellow professor Hardy (Peter Skarsgaard). On her vacation, Colman's middle-aged Leda can still attract her share of male admirers, like elderly villa manager Lyle (Ed Harris) and young working student Will (Paul Mescal).

This female-centric film had an all-female creative team behind it, with Maggie Gyllenhaal on her debut as feature film director and screenplay writer, adapting the novel of Italian writer Elena Ferrante. Gyllenhaal approached the drama with palpable suspense, with gorgeous images were captured by Helene Louvart. Colman, Buckley and Johnson all turn in excellent internally-complex performances of their flawed characters.

Greetings again from the darkness. There are so many things that go unspoken about parenting, and first time writer-director Maggie Gyllenhaal specifically focuses her lens on the pressures of motherhood, by adapting the 2006 novel from the anonymous and talented and mysterious Italian writer Elena Ferrante. Of course, we are all aware of Ms. Gyllenhaal's fine work as an actor, yet it's almost beyond belief that this is her debut as a feature film director. The source material is strong, but Ms. Gyllenhaal, along with a terrific performance from Olivia Colman (Oscar winner, THE FAVOURITE, 2018), turn a coastline vacation into a mesmerizing psychological case study.

Ms. Colman proves yet again what a fine and versatile actor she is. Here she plays Leda, a divorced professor on solo holiday on a picturesque Greek island, staying in a refurbished lighthouse tended by longtime caretaker Lyle (Ed Harris). Leda is packing a satchel full of books and academia work, and is a bit perturbed when her isolated beach time is suddenly interrupted by a large and noisy family of vacationers from Queens. Being an observant loner, Leda eyes young mother Nina (Dakota Johnson) who is struggling with her daughter, as well as her husband and other family members. This triggers memories in Leda that are handled via flashbacks with a terrific Jessie Buckley (I'M THINKING OF ENDING THINGS, 2020) as young Leda, stressed out wife and mother to two daughters. She longs for her own space.

At face value, this appears to be a movie about a woman annoyed that she can't just enjoy a quiet holiday on the sandy beach as she reads her books. However, there are so many layers to the story and to Leda, that as viewers, we must remain on high alert to pick up all the queues and subtleties. Watching Nina with her daughter and husband sends Leda deep into her past ... a past that still haunts her to this day. At the same time, while gazing at Leda, Nina can't help but wonder if she is looking at her own future self.

Much of what we see (past and present) reinforces the isolation and frustration felt by so many mothers. It has nothing to do with loving one's kids, but rather maintaining one's sanity and self-being. There are a few key moments, including one that creates tension between Leda and the vacationing family, and another that immediately connects the two. Leda's past includes steps that would be considered taboo for any wife and mother, and the symmetry of her past and Nina's present are striking.

Peter Sarsgaard (director Gyllenhaal's real life husband) has a supporting role in the flashbacks, while Dagmara Dominczyk plays a critical role as Callie, part of Nina's large family. Bonus points are won with a Leonard Cohen reference (that may or may not be true), and also playing key roles here are a missing doll (connecting Leda's past and present) and the proper way to peel an orange. Cinematographer Helene Louvart works wonders balancing the beautiful setting with the not-always-beautiful actions of the characters. Especially potent here is the performance of Olivia Colman, who proves she can play most any role. It's also remarkable what first time director Maggie Gyllenhaal has accomplished here. This is a multi-layered, nuanced look at how relentless parenting can often feel overwhelming and may even lead to feelings of guilt later in life. It's rare to see such a raw look at the emotions behind what is often referred to as the joy of motherhood. The film leaves little doubt that the always-dependable actor Maggie Gyllenhaal is now one of the most interesting new filmmakers on the scene.

In select theaters on December 17, 2021 and on Netflix beginning December 31, 2021.

The storytelling apparatus for "The Lost Daughter" is actually pretty simple: a present-day timeline is set up, and then supplemented by flashbacks that flesh out the backstory of the main character. In this specific case, however, I only found myself compelled by the flashbacks, and almost nothing happening in the main timeline. That's not a great formula for film success.

For a very basic overview, "The Lost Daughter" tells the story of Leda (Olivia Colman), a middle-aged professor on holiday at a beach resort. By sheer happenstance, she finds herself embroiled in a bit of drama involving young mother Nina (Dakota Johnson), who is having trouble with husband Tony (Oliver Jackson-Cohen) and overwhelmed by a daughter. This causes Leda to flash-back to her younger self (played by Jessie Buckley), when she struggled monumentally with her own children and trying to have an academic career.

Like I said, the main issue that garnered this film such a low rating from me was that I was never all that invested in older Leda's activities. Her rather odd comportment, seemingly petty squabbles with Nina's extended clan, and numerous shots of her wandering around the resort just didn't do anything for me. Seeing as how this comprises the majority of the movie, it meant extended stretches where my interest really waned.

The material in the flashbacks? That was actually pretty good, featuring some real issues like postpartum depression (of a sort), a woman trying to have a career with children, and infidelity. At times, Buckley stole the show for me. Again, though, due to their very nature those flashbacks represented a small-enough portion of the experience to not drive the entire flick.

Speaking of cast, I don't think that's the problem here. Besides those already mentioned, Ed Harris & Peter Sarsgaard also are in the fray. There's no lack of A-level talent, in other words. No--I think the predominant issue with "The Lost Daughter" was that the gulf between past and present story-wise was too large and too stark to be crossed successfully.

I can give the film four stars because it did have some interesting material it tried to examine, but overall it felt unfulfilling. After the last scene cut to close, my first thought was "all this way for that?!". Not a great sentiment to go out on.

This film is made with such emotional intelligence and cinematic sensibility, it deserves all the praise it can get. It's not often you find films by American directors that are this daring when it comes to trusting the audience to piece together what's going on in the minds and hearts of the characters. And also what's going on plot-wise. I love the way Colman's character surprises herself with her own actions. It's a thrill to watch her stumble her way through encounters with other people and it's heartbreaking to find out what she's actually grappling with, which we learn more about as the story moves along. There's so much going on in this little gem of a film. If you can't see that - it wasn't for you, anyway.

It is hard to stop watching this movie but I am not sure I can say I liked it. It caught my attention because of the stellar critic reviews and the setting, Greece. The film is well done. It is well acted. Olivia Colman, Dakota Johnson, and Ed Harris, among others are very engaging was the story of a deeply troubled woman on summer holiday in Greece unfolds. This is not a big, over the top movie, but it is not simple. Colman, is by definition, an unreliable narrator. While we learn a lot about her past and her troubles we have great difficultly understanding what is truth and what is illusion-I think the line is blurred. We also have a great difficulty understanding why Colman is the way she is, and maybe that isn't relevant to the story; however, I felt myself desiring to know more about what she was feeling and thinking. Perhaps reading the source material would enlighten me. Perhaps it would not. Regardless, the movie's performances and direction moved me but, in the end, I felt unsatisfied.

When this film ended, I was left wondering what it was exactly that I just watched and felt like I was trying to find a deeper meaning within the film that I'm not even sure is really even there. Throughout the entire film, I was waiting for something to happen that would tie certain scenes together to make the story line more cohesive and make more sense and provide some sense of closure in regard to the plot and the actions of the main character. But at the end of the film, there I was... still waiting. There were scenes that were completely irrelevant to the story (for example, the scene with the hikers). I kept waiting for that scene to become relevant later in the film, but it never did. It was just "filler," I guess. As far as the acting goes, it was fine, as was the directing. I think the main failure of this film is the plot in general. Basically, it tries to build up a lot of intrigue (and does a decent job at that) but then in the end, you're still left struggling to find meaning and relevance and make connections that don't exist. And because of that, the film comes off as a bit pretentious due to its failed attempt to explore the main character's complex psychological state but even in that, it barely skims the surface.

During her vacation Leda witnessed an incident that that remembered her of her darkest moments as a mother .

It was a bit slow for me, not a lot of things happening, but it worth your time of course.

It shows how the motherhood can be one of the most beautiful and hard experiences at the same time in a woman's life.

The film's structure is remarkable especially the way they presented the present and the previous time back and forth .

What made me watch this movie while I'm late I guess is what I heard about performances, the beautiful Olivia Colman was fascinating, for Jessi Buckley I had a problem with the character itself and it's instability, but her acting was at it's finest.

Two Oscar worthy nomination for these two, playing the role of the same character in different periods of time.

Some good performances from Dakota Johnson and Ed Harris that I always appreciate his presence.

Finally, I want to say that Maggie Gyllenhaal offered us a beautiful pure drama so her Oscar nomination is deserved I suppose.

" I'm an Unnatural mother".

I learned of Olivia Colman when she played Queen Anne in "The Favorite" (and won an Oscar for the role). I later saw her on "Broadchurch", as well as seasons three and four of "The Crown". She also provided one of the voices in "The Mitchells vs. The Machines".

But now we have Ms. Colman in an intense role. She plays a woman on vacation in Greece whose stay is overshadowed by memories of the daughters whom she abandoned. "The Lost Daughter" both casts doubt on the supposed happiness of family life, and the presumed pleasantness of tourism, with the protagonist's mental state deteriorating as the movie progresses. Jessie Buckley as the protagonist's younger self is equally intense, almost as much as her character in "I'm Thinking of Ending Things".

Maggie Gyllenhaal's directorial debut is a fine one. I wouldn't call it a masterpiece - and it certainly won't be for everyone - but it's not a movie that you're likely to forget any time soon. Both Colman and Buckley received Academy Award nominations for their roles, with excellent support coming from Ed Harris, Dakota Johnson, Dagmara Dominczyk (Karolina on "Succession"), Paul Mescal and Peter Sarsgaard.

"I'm an unnatural mother"

Strictly from a cinematic stance, it isn't perfect, however, what Gyllenhaal's 'The Lost Daughter' attempts to address is rather stimulating on so many levels. The story speaks of Motherhood, this mustn't come off as a surprise as we all had already made our assumptions from the trailer. But what could be reckoned as a shock is that it's nothing like its contemporary equivalents which tend to commemorate 'Motherhood'; it's quite the opposite in nature.

But first, do me a favour and ask yourself a question, what do we understand by the word "Mother", what comes to our mind, what kind of a picture does our subconscious draw whenever somebody mentions that name? A feminine being giving birth? Perhaps, a woman with bare breasts feeding a newborn? Or do you see the most divine form of the human soul that bestows love unconditionally? I'm sure, the majority of you have been thinking pretty much along these lines; now what if I tell you, that not all 'Mothers' are alike.

The character of Leda is one such glaring example. Leda, the mother of two is an ambitious woman. She's got career aspirations, she's got desires as everyone else does. But at the same time, unlike the majority of women around the globe; she's incapable of balancing out her professional and personal lives. Having to do the daily chores as well as taking care of two children is easier said than done, and apparently, it's taking a toll on her mental health.

The house, for her, now starts to feel like an enclosure. Her mind confides, that she's being held in some sort of confinement. What can be a paradise to some, for her, it has become a place full of regrets and unhappiness. Now don't get the wrong idea, Leda cherishes her daughters (and that is self-explanatory by her extensive babblings) it's just that, at times, they get to her nerves and she can't seem to snuff it out.

No one would deny that she's a terrible mother (expounded through her dialogues and demeanours) but does that make her an awful human being as well? Can her actions be rationalized? Those are the queries, the film tends to present.

Being a mother must be an amazing feeling, an ecstasy, nothing comes close. But like every other precious thing in the world, it comes with a hefty price and that is nothing but crushing responsibilities, that often gets over complicated and demanding. Not everybody can withstand the pain, all those sleepless nights, the exhaustion, not everyone will come to terms with the challenges.

Like it or not, being a 'Parent' is a blessing as well as a burden. In Leda's case, her judgment has a clear inclination towards the latter. Her character represents that handful of individuals who just couldn't be what people or society want them to be, and the same has been expressed through a myriad of articulated connotations, that is only matched by a capable ensemble.

Olivia Colman needs no introduction, she's one phenomenal performer and the same invariably reflects in her performance. No wonder she's got the 'Best Actress nomination for this year's Academy Awards. Jessie Buckley, who played the younger version of Leda, is great in it too.

The rather curious case is with Dakota Johnson. Her character is supposed to mirror Leda's younger self; While she's done a competent job as Nina, for whatever reason, her temperament hasn't exhibited the gradual developments that were anticipated. So is the case with the rest of the characters. Much-needed clarity and some closures (In terms of the Sub-plots) weren't there.

..., the previous review is from another movie! !!! Not THE LOST DAUGHTER!

Where to start, I liked the movie. It has the quality to keep you going until the end, due to the tension and creativity of the theme. I have decided to write a somewhat simple review, and nothing deep, I can go on and on..

The most important thing about the film, in my opinion, are the different types of people who participate in this story and therefore personalities, they could have been given more attention and studied more deeply in the film.

Olivia Colman, always great! And Leda in the movie, did not seem awkward to me at first, but she is a woman who does not accept injustice and speaks and protests when many do not dare, she is sincere with herself. Having said this, later the story changes and she has to do something to cope with her own sadness. Yes, it is true that she has also committed an injustice as well, and that makes her even more interesting.

To be honest I have never seen children so spoiled, annoying and whiny, and I know many at this age. I found this portrayal of children somewhat dramatic, and if you pamper them and give them everything from the beginning they will become little devils, it is a fact!!.

A lot of what happens in this movie is because of this children and their attitude towards their parents!! So.. you lose your play doll and just turn everything into a drama? This parents are weak and should act differently in this case.

I have always loved the actor Ed Harris, Lyle in the film, although I would have liked his character to have been more studied, it would make the story more interesting.

I liked the actors and the atmosphere in Greece, really beautiful and it all looks and feels very realistic to me.

Why do we always have expectations? I know it's hard not to have them, but it's just a movie. Do not have expectations and you will lik it more!!

I recommend it!

My Review - The Lost Daughter Netflix

My Rating 5/10 As readers of this page know I'm a great advocate for Women Directors also a great fan of Maggie Gyllenhaal and Olivia Coleman but this film directorial debut from Maggie Gyllenhaal left me totally unimpressed.

I kept thinking would I have liked it more on a Cinema screen instead of a television screen and at the conclusion I had decided no I just didn't get it.

The film has been highly praised by some critics especially for Maggie Gyllenhaal 'S directing and Screenplay writing.

Olivia Coleman's performance as Leda is certainly a consideration for an Oscar nomination next year.

The Lost Daughter is about a woman Leda Caruso who while on a summer holiday, finds herself becoming obsessed with another woman and her daughter on the beach . Their interactions provoke memories of her own early motherhood to come back and unravel her holiday bliss.

The two women who portray Leda are Olivia Colman as Leda Caruso on holiday on the Italian Coast and Jessie Buckley as young the Leda Caruso in flashback . Both actresses give impressive performances but both characters annoyed me and I just lost interest in them and their story.

Dakota Jackson is impressive as the young mother Nina who Leda notices on the resort beach with her daughter and obviously sees a mirror image of her life experiences through their interactions which disturb her and are reflected in this 2 hour movie.

The two men in this film Ed Harris as Lyle a resort employee and young Will played by Paul Mescal are interesting characters that never really develop . This film I truly fits a genre description I usually never refer to as " A Woman's Picture " that's certainly not an insult but it's a Woman's Picture that didn't entertain me or move me at all.

Why that happened I can't say as it would contain spoilers I'll just say in my opinion both Leda's were two unlikeable characters that I had no empathy with at all.

Mature Leda obviously guilt ridden and depressed about her life choices involving her daughters and young Leda headstrong and following her desires rather than her responsibilities.

I won't spend more effort on this review as the film just failed to impress me I know it will appeal to some movie goers but apart from the good performances by the cast the story just didn't move me and the Direction by Maggie Gyllenhaal makes me hope that she won't give up acting.

Maggie Gyllenhall - an actress who as many before her now went behind the camera. Her directorial debut is quite the heavyweight and a movie that will divide those who watch it. On so many levels this was not an easy one to take on and I think she chose this project because of this and not despite of it.

Having said, we have a main character who many viewers will have issues identifying with ... or even have feelings for. Olivia Coleman is superb in that role. As are all the other actors in it. Ed Harris (so good to see him) and also our 50 Shades of Grey love interest - who is able to act, in case you were not aware of that.

This being set in Greece is especially interesting considering the coldness of our main character. It is quite the stark and big contrast to what surrounds her. Early on we are able to see that and that she is quite the odd one out. Don't hold it against her - actually you may even be with her. Feel for her and her situation she finds herself in.

But her not giving a position up for a family ... well that may not go down well with a lot of viewers. But this is not a likeability contest. This is not about how much you should like her - no it is about slowly revealing why and how she became the person she is now.

It is tough to fully understand her actions and really emphatize with her decisions ... but this is where you have to suspend your disbelief a little bit at least. A movie not for the masses ... but I didn't figure Maggie out to do something like that anyway ... only thing that surprised me was a Netflix survey that I got the other day that suggested this might get follow ups/sequels or whatever ... I don't think it's needed to be frank, but what do I know?

Even though the movie was a bit slow, it didn't feel boring at all for me. I kept waiting for something big to happen and even though it didn't, I was still enjoying it the whole time. So hard to explain! I Olivia is such a great actress. A few small confusing things that I wanted to know more about, but all in all it was enjoyable.

Flashbacks of coping as a young mother and infidelity, present moments of dullness on a beach in Greece, two little girls being brats on screen and a stupid doll. This film was long, drawn out and boring as hell. Nothing but a cup of sleepytime tea and quite possibly another remedy for insomnia.