Maggie Gyllenhaal's directorial debut, starring Olivia Colman (Leda).
As soon as the book A Filha Perdida, by author Elena Ferrante, was published in Brazil, I bought a copy and read it all in one sitting. Reading is exciting. The film of the same name is an adaptation of that book.
This adaptation is signed by the director, Maggie Gyllenhaal. And it worked well, being faithful to the pages written by Ferrante.
Leda is a literature teacher who decides to spend her holidays alone on a Greek beach. There, she will meet a noisy family, whose interaction will be full of ups and downs. In the family is Nina (Dakota Johnson), whose young daughter, Elena, is grabbed with a doll. One day, Elena disappears from the family, which causes confusion, and it is Leda who finds her. In this reel, Elena's doll also disappears. The trigger for Leda was set, when she will remember her early years of marriage, with two young daughters, a beautiful career as a translator ahead of her, motherhood, the need to be free, escape, regret.
It is an intimate, observational film, both of Leda towards her noisy family and of Nina towards Leda. Leda sees her past in Nina and Nina sees her future in Leda. In a dialogue with Leda, she said that she wanted to be like her when she reached her age.
For being intimate, there are many scenes of mere contemplation, with wide shots of the scenarios.
It also leads us to reflect on topics that are sensitive to women, such as, for example, the issue of motherhood. Is it an inherent role for a woman to be a mother? This is Leda's main anguish with her 48 years old.
When I finished watching the film, I concluded that there could be no other actress than Olivia Colman to play Leda. How sensational her performance is, her way of showing her feelings with only minimal expressions on her face. Great.
As for Gyllenhaal's direction, it's firm, but it didn't bring innovation, preferring to stay in the conventional so as not to make mistakes.
As soon as the book A Filha Perdida, by author Elena Ferrante, was published in Brazil, I bought a copy and read it all in one sitting. Reading is exciting. The film of the same name is an adaptation of that book.
This adaptation is signed by the director, Maggie Gyllenhaal. And it worked well, being faithful to the pages written by Ferrante.
Leda is a literature teacher who decides to spend her holidays alone on a Greek beach. There, she will meet a noisy family, whose interaction will be full of ups and downs. In the family is Nina (Dakota Johnson), whose young daughter, Elena, is grabbed with a doll. One day, Elena disappears from the family, which causes confusion, and it is Leda who finds her. In this reel, Elena's doll also disappears. The trigger for Leda was set, when she will remember her early years of marriage, with two young daughters, a beautiful career as a translator ahead of her, motherhood, the need to be free, escape, regret.
It is an intimate, observational film, both of Leda towards her noisy family and of Nina towards Leda. Leda sees her past in Nina and Nina sees her future in Leda. In a dialogue with Leda, she said that she wanted to be like her when she reached her age.
For being intimate, there are many scenes of mere contemplation, with wide shots of the scenarios.
It also leads us to reflect on topics that are sensitive to women, such as, for example, the issue of motherhood. Is it an inherent role for a woman to be a mother? This is Leda's main anguish with her 48 years old.
When I finished watching the film, I concluded that there could be no other actress than Olivia Colman to play Leda. How sensational her performance is, her way of showing her feelings with only minimal expressions on her face. Great.
As for Gyllenhaal's direction, it's firm, but it didn't bring innovation, preferring to stay in the conventional so as not to make mistakes.