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It’s difficult to figure out what’s going on with Leda at first. The woman with the significant Yeatsian name is a professor and translator on a short holiday in Greece, looking forward to sun and leisure. However, things begin to go awry almost immediately after she arrives in the quiet beach village. The oddity revolves around Leda. Is she the source of the strangeness, or is it the world? Why is she having such strong reactions to things? What is the source of her paranoia and awkwardness? What is the matter with her? Maggie Gyllenhaal’s directorial debut is “The Lost Daughter,” an adaptation of Elena Ferrante’s 2006 novel of the same name. This is a film for adults that is harrowing, surprising, difficult, and confrontational.
One of the most remarkable aspects of “The Lost Daughter” is Gyllenhaal’s steadfast refusal to reveal the mystery of Leda. Why does Leda act the way she does? You learn a lot about the backstory, but anyone explanation would be incomplete. “The toughest things to talk about are the ones we ourselves can’t grasp,” Leda says on the second page of Ferrante’s book. It’s important to note that it’s not “doesn’t” comprehend. It’s “can’t,” which is a wholly different word. Leda has no idea why she does half of what she does.
The Lost Daughter Quiz
She is a control freak. She has an obsessive personality. She is at odds with her own desires. “The Lost Daughter” travels exceedingly hazardous terrain, and Gyllenhaal’s strong concentration on her lead actress, adhering to the novel’s close first-person, makes for an unsettling and, at times, frightening encounter. You get the unsettling feeling that Leda isn’t the most trustworthy of narrators. Also, you must try to play The Lost Daughter Quiz.
Leda (Olivia Colman) settles into her holiday, reading on the beach, swimming, and attempting to sleep at night despite the fact that a lighthouse beam swoops across her room like a searchlight. Lyle (Ed Harris), the caretaker, is friendly and helpful, but Leda’s reactions are forced. She’s courteous, but she doesn’t appear to enjoy social encounters. She sits through the chat, hoping for it to stop. A rowdy loud family arrives on the beach a few days into her vacation. Men, women, and children conversing loudly, splashing, and erecting blankets, chairs, and food. Leda can no longer concentrate on her reading, so she observes them, attempting to figure out who is who.
Leda is particularly captivated by a young woman in a swimsuit (Dakota Johnson) who is playing with her young daughter. Leda’s attention on this mother-daughter relationship is perhaps too obsessive. Her gaze follows them. Callie (Dagmara Dominczyk), a very pregnant matriarch, asks Leda if she wouldn’t mind relocating to another beach chair so the entire family may sit together. Leda is adamantly opposed. Callie is in disbelief. For the remainder of the day, Leda receives unfriendly glances from the entire family, and everything is wrecked, so she flees the beach. But the next day, she’s drawn back in.
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These enigmatic and dramatic present-day sequences are mixed with scenes from Leda’s life twenty years ago. These sequences do not serve as flashbacks. They run on a parallel track, creating a jumble of sensations and parallels while also filling in the gaps in Leda’s story. Jessie Buckley plays younger Leda, who is flustered, annoyed, and frustrated attempting to juggle her job ambitions with parenting two tiny needy girls. When a well-known celebrity scholar (Peter Sarsgaard) expresses interest in Leda’s work, it’s like a catnip to the oppressed woman. She wants to be free, she is tired of duties, she is tired of everything.
Meanwhile, Leda befriends Nina, the young woman in the bikini. Leda assumes a motherly position, yet there’s something “wrong” about it all. Her enthusiasm is overpowering. Nina is played by Johnson with an intriguing blend of lazy pleasure and steely desperation. Nina is “acting,” and she should be. Callie, her eagle-eyed sister-in-law, sees everything. You don’t want to annoy Callie.
Leda remarks in the book, “The unspoken communicates more than the stated.” While this is absolutely true in most cases, it is not true when dealing with an untrustworthy narrator like Leda, who is so concerned with herself that every interaction shivers with menace, want, insecurity, and all the unresolved concerns Leda puts onto the other person. Because she is so preoccupied with herself, she constantly misinterprets the “unspoken.” She misreads gestures, body language, and pauses. She sees danger where there may be none. She appears to misread Lyle’s benevolence, resulting in unexpected wild reactions from her. She misunderstands the young man who works at the beach club. She “doesn’t get it.” If Nina is “acting,” Leda must be as well. We ultimately learn what Leda did back in the day, but it still doesn’t fully explain her choices on this fatal holiday, particularly one in particular.
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