--- title: "The Lost Daughter" year: 2021 kind: "film" canonical: "https://film.one/film/the-lost-daughter" fi1m_id: "the-lost-daughter" imdb_id: "tt9100054" tmdb_id: 554230 wikidata_id: "Q99926331" fi1m_score: 84 critics_score: 79 critics_reviews: 26 published: "2026-10-03T02:30:47.291068+00:00" updated: "2026-10-03T02:30:47.766756+00:00" region: "HR" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Lost Daughter (2021) Directed by Maggie Gyllenhaal · 2h 02m · Drama ## Identity The Lost Daughter - **Canonical:** https://film.one/film/the-lost-daughter - **Type:** Film - **Fi1m ID:** the-lost-daughter - **IMDb ID:** tt9100054 - **TMDB ID:** 554230 - **Wikidata ID:** Q99926331 - **Same entity:** https://www.imdb.com/title/tt9100054/, https://www.themoviedb.org/movie/554230, https://www.wikidata.org/wiki/Q99926331 **Fi1m score: 84** · Critics 79 from 26 reviews *In a sentence:* Olivia Colman makes keeping your feelings to yourself look exhausting > Olivia Colman and Jessie Buckley make this study of maternal frustration painful, funny and worth the discomfort. The flashbacks sometimes explain feelings the performances have already made clear, but Maggie Gyllenhaal gives both actors room to be difficult. ## Synopsis Leda Caruso (Olivia Colman) confronts feelings about motherhood that she has not put behind her. Her connection with Nina (Dakota Johnson) draws her attention towards another woman’s experience of being a mother, while her own past returns through flashbacks. Young Leda Caruso (Jessie Buckley) faces the competing demands of motherhood and personal ambition. The story moves between these two versions of Leda as she considers the choices that have shaped her life. With Leda and Nina coming to understand one another, the question of what a mother owes her children becomes personal for both women. ## Review *The Lost Daughter* is a perceptive, unsettling drama with two performances worth making time for, even when its flashbacks explain more than they need to. Maggie Gyllenhaal, writing and directing an adaptation of Elena Ferrante’s novel, takes a mother’s mixed feelings seriously without making her plead for our approval. She allows affection, frustration and ambition to remain inconveniently tangled. That gives Olivia Colman’s Leda Caruso a freedom that screen mothers are not always granted: she can be difficult without the film immediately correcting her. Olivia Colman makes that difficulty engrossing. Her expressiveness keeps changing our sense of how much Leda understands about herself, and how much she is prepared to acknowledge. We felt uneasy watching her face, because shame and resentment become visible before we have decided what to make of them. There is dark comedy in this uncertainty too, and the performance lets us laugh at Leda without encouraging the comfortable belief that we would handle her feelings better. Jessie Buckley plays Young Leda Caruso with a more exposed sense of strain, particularly where motherhood presses against ambition. The two performances need not look identical to feel connected, although their shared gestures help. What convinces us is that both actors allow tenderness and impatience to seem possible at any moment. The younger woman’s frustration remains sufficiently complicated that the flashbacks are worth watching even when their place in the story feels too carefully explained. Dakota Johnson’s Nina matters because her growing understanding with Leda gives the film a relationship through which to explore those feelings. Her performance holds its own in a drama whose attention could easily have stayed with its two versions of Leda. Maggie Gyllenhaal does not turn their connection into a reassuring lesson about women understanding one another. We remain interested in how far their sympathy extends, and how much each woman can recognise in the other without knowing her well. Hélène Louvart’s intimate framing keeps us close to the performances, making small changes of expression worth attending to. The images have a physical immediacy that suits a story about feelings people would prefer to leave unspoken. Inbal Weinberg’s production design is effective in a quieter way: the surroundings never compete with our attention to the women. The visual approach rewards watching closely, particularly when a face gives us reason to reconsider what we thought we understood. The main reservation concerns the flashbacks. Affonso Gonçalves’s editing makes the movement between the two Ledas readable, but some returns to the past tell us what the present performance has already suggested. Those interruptions leave us waiting for the story to get back to feelings that were more interesting before they were explained. Dickon Hinchliffe’s music helps maintain the unease across those shifts, though it cannot make each return equally necessary. That reservation matters, but it does not undo the film’s unusual patience with a mother’s divided loyalties. Family dramas often hurry to explain difficult behaviour; here, the actors are allowed to leave us uncertain about how generously to judge it. We recommend the film for those performances and for the seriousness with which it treats feelings that can be embarrassing to admit. Leave it for another evening if the requirement is a sympathetic lead who explains herself. *Fi1m score 84, published 3 October 2026.* ## What the critics say Most critics respond warmly to The Lost Daughter, with praise centred on Olivia Colman’s conflicted, expressive performance and Jessie Buckley’s portrayal of the younger Leda. Maggie Gyllenhaal’s direction also draws approval for its intimacy and its willingness to examine motherhood, ambition and regret without judging the women involved. The reviews repeatedly credit the film with turning ordinary frustrations into psychological tension, while finding its close attention to women’s experience unusually perceptive. The spread runs from enthusiastic praise to mixed assessments, with no outright negative verdicts. Reservations cluster around an unwieldy structure, flashbacks that explain too much and an ending several critics find weak or unconvincing. Slant Magazine regards the adaptation as reductive despite Colman’s performance, while Radio Times departs from the broad admiration for Buckley by finding her miscast. Even among the positive reviews, the film’s ambiguity and lack of firm answers are not always considered strengths. ## Straight answers **Is The Lost Daughter worth watching?** *The Lost Daughter* is worth watching for Olivia Colman and Jessie Buckley’s performances and its frank treatment of maternal frustration; we score it 84 out of 100. We recommend it to anyone comfortable with a difficult lead, though the flashbacks sometimes explain feelings the actors have already made clear. **How long is The Lost Daughter, and what is it rated?** *The Lost Daughter* runs 2h 02m. It is a drama film. **Where can I watch The Lost Daughter in Croatia?** *The Lost Daughter* is not on any streaming or rental service in Croatia at the moment. It is available in 45 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is The Lost Daughter, and is it suitable for children?** *The Lost Daughter* has a UK 15 certificate and is not suitable for children under 15; its treatment of maternal shame and resentment makes it emotionally unsettling. We found Colman’s expressions troubling because those feelings surface before we know how to judge them, but that discomfort does not establish how graphic any violence is. **How does The Lost Daughter compare to We Need to Talk About Kevin?** *The Lost Daughter* is our preference for a more nuanced account of maternal frustration, while [*We Need to Talk About Kevin*](https://film.one/film/we-need-to-talk-about-kevin) makes maternal guilt more immediately frightening. Both have compelling central performances, but we find Kevin’s characterisation too monstrous to remain convincing; Leda’s mixture of tenderness, impatience and ambition allows more room for uncertainty. **Is The Lost Daughter based on a true story or a book?** *The Lost Daughter* is adapted from Elena Ferrante’s novel, rather than presented as a true story, with Maggie Gyllenhaal writing and directing. We find its movement between younger and older Leda clear enough without knowing the book, although the flashbacks sometimes explain more than the performances need. **What should I watch after The Lost Daughter?** After *The Lost Daughter*, try [*We Need to Talk About Kevin*](https://film.one/film/we-need-to-talk-about-kevin) (2011, Fi1m 81): Another unsparing account of maternal estrangement, with discomfort built into every image. Then [*Certain Women*](https://film.one/film/certain-women) (2016, Fi1m 84): Patient attention to women whose private disappointments rarely receive this much screen time; and [*Petite Maman*](https://film.one/film/petite-maman) (2021, Fi1m 88): A gentler encounter with motherhood and childhood, equally careful about what remains unspoken. ### Reviews we read (26) - **Evening Standard**, Charlotte O'Sullivan (5/5): O'Sullivan praises the adaptation as a powerful achievement that elevates its source material. She especially singles out Olivia Colman's darkly comic, award-worthy performance. [Read](https://www.standard.co.uk/culture/film/the-lost-daughter-review-maggie-gyllenhaal-olivia-colman-elena-ferrante-b960080.html) - **Time Out**, Phil de Semlyen (5/5): The critic gives the film a strongly positive verdict, calling the adaptation dizzyingly brilliant. Olivia Colman and Jessie Buckley are singled out for sharing the acting honours. [Read](https://www.timeout.com/movies/the-lost-daughter-2021) - **Los Angeles Times**, Guy Lodge (90/100, inferred): Lodge finds Gyllenhaal’s directorial debut thrilling, empathetic and bold in its portrayal of unorthodox femininity. He especially praises Olivia Colman and Jessie Buckley’s performances and their uncanny physical and gestural mirroring. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-12-16/lost-daughter-review-netflix-maggie-gyllenhaal-elena-ferrante) - **The Hollywood Reporter**, David Rooney (90/100, inferred): Rooney calls the film a highly accomplished, mesmerizing debut and an uncompromising character study. He praises the performances, especially Jessie Buckley’s portrayal of Leda’s conflicted feelings about motherhood and ambition. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/olivia-colman-in-maggie-gyllenhaals-the-lost-daughter-1235005205/) - **Variety**, Peter Debruge (90/100, inferred): Debruge praises the film as a brilliant, subversive drama, while noting its risks. He singles out Gyllenhaal’s nuanced direction and the performances of Olivia Colman and Jessie Buckley for conveying the story’s rich subtext. [Read](https://variety.com/2021/film/reviews/the-lost-daughter-review-maggie-gyllenhaal-1235054843/) - **Vulture**, Alison Willmore (90/100, inferred): Willmore calls the film an incredible debut and an unusually adult, precisely observed work. She particularly praises Olivia Colman and Jessie Buckley’s seamless performances and the film’s nuanced depiction of maternal ambivalence. [Read](https://www.vulture.com/2021/12/the-lost-daughter-movie-review-maggie-gyllenhaal.html) - **The AV Club**, Noel Murray (B+): Murray finds the film haunting and astute, though its ending loses momentum and satisfaction. He praises how Gyllenhaal turns everyday frustrations and the regret of parenthood into nerve-jangling tension. [Read](https://www.avclub.com/the-lost-daughter-is-a-haunting-astute-drama-about-how-1848214001) - **The Guardian**, Peter Bradshaw (80/100, inferred): Bradshaw finds the film an absorbing, stylish psychological drama, though its ending is somewhat tame and implausible. He especially praises Olivia Colman’s rich, complex performance and Jessie Buckley’s complementary work as the younger Leda. [Read](https://www.theguardian.com/film/2021/dec/16/the-lost-daughter-review-olivia-colman-shines-in-elena-ferrante-missing-kid-drama) - **The i Paper**, Christina Newland (80/100, inferred): Newland finds the film a darkly compelling, slippery thriller that embraces the messiness of women’s lives. She especially praises Olivia Colman’s magnetic, nuanced performance and Gyllenhaal’s nonjudgmental depiction of motherhood. [Read](https://inews.co.uk/culture/film/the-lost-daughter-film-review-olivia-colman-maggie-gyllenhaal-paul-mescal-venice-1185123) - **Empire**, Ella Kemp (75/100, inferred): Kemp finds the film sophisticated and seductive, though somewhat unwieldy and more questioning than conclusive. She singles out the performances and Gyllenhaal’s sensual visual style for praise. [Read](https://www.empireonline.com/movies/reviews/the-lost-daughter/) - **Sight and Sound**, BFI (75/100, inferred): The critic finds the film alluring, sharply unsettling and richly actorly. They especially praise the performances and the growing understanding between Leda and Nina. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/lost-daughter-explores-dark-side-motherhood-with-risky-drama-that-feels-closer-thriller) - **Screen Daily**, Wendy Ide (70/100, inferred): The review presents the film positively, highlighting Olivia Colman’s tour-de-force performance. The visible text singles out her acting for praise. [Read](https://www.screendaily.com/reviews/the-lost-daughter-venice-review/5162992.article) - **The New York Times**, Manohla Dargis (70/100, inferred): Dargis gives the film a positive assessment, finding its portrait of motherhood compelling. She singles out Olivia Colman’s performance for praise. [Read](https://www.nytimes.com/2021/12/30/movies/the-lost-daughter-review.html) - **The New Yorker**, Richard Brody (65/100, inferred): Brody finds the film sluggish and dramatically diminished by its adaptation choices, yet calls it a major achievement. He praises its rare attention to women’s lives and intimate experience, while criticizing the loss of the novel’s reflective voice. [Read](https://www.newyorker.com/culture/the-front-row/maggie-gyllenhaals-the-lost-daughter-is-sluggish-spotty-and-a-major-achievement) - **Little White Lies**, Sophie Monks Kaufman (60/100, inferred): The critic finds the film ambitious and atmospheric but structurally unwieldy. Colman and Buckley’s gutsy performances are singled out as its strongest feature. [Read](https://lwlies.com/festivals/the-lost-daughter-venice-film-festival-review) - **Radio Times**, Max Copeman (3/5): Copeman gives the film a mixed verdict, praising Olivia Colman’s performance. He considers Jessie Buckley miscast as the younger Leda. [Read](https://www.radiotimes.com/movie-guide/b-8qa2aq/the-lost-daughter/) - **Slant Magazine**, Diego Semerene (2/4): The review finds the adaptation reductive and overly explanatory, despite its moments of insight. It praises Olivia Colman’s expressive performance while faulting the flashbacks for spelling out what made the novel compelling. [Read](https://www.slantmagazine.com/film/the-lost-daughter-review-maggie-gyllenhaal-olivia-colman/) - **The Skinny**, Anahit Behrooz (★★★★★): Behrooz finds the film devastating and perceptive in its exploration of motherhood, desire, and regret. She especially praises Gyllenhaal’s intimate camera work and fragmentary flashbacks, alongside Jessie Buckley’s performance. [Read](https://www.theskinny.co.uk/film/new-releases/venice-film-festival-2021-the-lost-daughter) - **The Wrap** (95/100, inferred): The critic calls the film a triumphant, perceptive debut that explores the pressures society places on mothers. They especially praise Gyllenhaal’s nuanced direction and Olivia Colman’s emotionally expressive performance. [Read](https://www.thewrap.com/the-lost-daughter-film-review-maggie-gyllenhaal-olivia-colman-dakota-johnson/) - **Digital Spy**, Gabriella Geisinger (90/100, inferred): The critic calls the film brilliant and emotionally engrossing, praising Maggie Gyllenhaal’s sensitive handling of its women’s intersecting stories. They particularly single out the nuanced, nonjudgmental character arcs and the performances of the ensemble cast. [Read](https://www.digitalspy.com/movies/a38568143/the-lost-daughter-review-netflix/) - **Paste**, Aurora Amidon (8.8/10): Amidon praises the film as an astute, complex portrait of womanhood and its painful expectations. She singles out Gyllenhaal’s tactile visual storytelling and the lead actresses’ performances, especially Olivia Colman’s. [Read](https://www.pastemagazine.com/movies/netflix/the-lost-daughter-review) - **Den of Geek**, Don Kaye (4/5): Kaye calls the film an unsettling, poignant, terrific directorial debut, though its deliberate understatement and ambiguity may leave some viewers struggling to connect the dots. He especially praises Olivia Colman’s nuanced performance, alongside Jessie Buckley’s portrayal of young Leda. [Read](https://www.denofgeek.com/movies/the-lost-daughter-review-olivia-colman/) - **Deadline**, Pete Hammond (78/100, inferred): Hammond finds the film a powerful, aching portrait of motherhood, though its difficult subject may not work for every audience. He especially praises Olivia Colman’s quietly expressive performance as a woman confronting her past. [Read](https://deadline.com/2021/09/the-lost-daughter-venice-film-review-director-maggie-gyllenhaal-and-olivia-colman-team-for-devestating-story-of-a-mothers-crisis-of-conscience-1234823952/) - **NME** (78/100, inferred): The review finds the film an enthralling, daring portrait of a woman pulled between conflicting impulses. It particularly praises Olivia Colman’s masterful performance, while noting that some flashbacks lack subtlety. [Read](https://www.nme.com/reviews/film-reviews/the-lost-daughter-review-olivia-colman-maggie-gyllenhaal-3120202) - **Eye for Film**, Amber Wilkinson (75/100, inferred): Wilkinson finds the film compelling for its nuanced, non-judgmental view of motherhood. She particularly praises Olivia Colman and Jessie Buckley’s performances and the cinematography’s intimate framing. [Read](https://www.eyeforfilm.co.uk/review/the-lost-daughter-2021-film-review-by-amber-wilkinson) - **HeyUGuys**, Adam Solomons (60/100, inferred): Solomons finds the film a bold, thorny debut that falls short of its early promise. He praises the performances, especially Olivia Colman and Jessie Buckley, but faults the weak ending. [Read](https://www.heyuguys.com/the-lost-daughter-review/) ## Details - **Director:** Maggie Gyllenhaal - **Director:** Maggie Gyllenhaal - **Writer:** Maggie Gyllenhaal - **Novel:** Elena Ferrante - **Cinematography:** Hélène Louvart - **Editor:** Affonso Gonçalves - **Music:** Dickon Hinchliffe - **Production design:** Inbal Weinberg - **Costume design:** Edward K. Gibbon - **Producer:** Maggie Gyllenhaal, Talia Kleinhendler, Osnat Handelsman-Keren - **Cast:** Olivia Colman as Leda Caruso; Jessie Buckley as Young Leda Caruso; Dakota Johnson as Nina; Ed Harris as Lyle; Paul Mescal as Will; Peter Sarsgaard as Professor Hardy; Dagmara Dominczyk as Callie; Jack Farthing as Joe - **Runtime:** 2h 02m - **First release (Italy):** 3 September 2021 - **Genres:** Drama - **Budget:** $5 million - **Box office:** $703,281 - **Trailer:** https://www.youtube.com/watch?v=bOORjqHVjvo ## Where to watch in Croatia Not streaming, renting or buying in Croatia at the last check. Also available in: AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, HK, HU, IE, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, RO, SE, SG, SK, TH, UA, US, VN. Add `?region=XX` to this URL for another country. ## If you liked this - *Autumn Sonata* (1978): A mother and daughter find that musical discipline has not helped them listen. - *We Need to Talk About Kevin* (2011), Fi1m 81: Another unsparing account of maternal estrangement, with discomfort built into every image. — [Fi1m page](https://film.one/film/we-need-to-talk-about-kevin.md) - *Certain Women* (2016), Fi1m 84: Patient attention to women whose private disappointments rarely receive this much screen time. — [Fi1m page](https://film.one/film/certain-women.md) - *Maborosi* (1995): Grief and motherhood observed through patient images, with little appetite for easy reassurance. - *Petite Maman* (2021), Fi1m 88: A gentler encounter with motherhood and childhood, equally careful about what remains unspoken. — [Fi1m page](https://film.one/film/petite-maman.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. 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