The Lost Daughter

“The Lost Daughter is a story of confounding yin-yang – duality spawning despair. There’s some hint of that in the visual language: the framing is more claustrophobic at the start of the film, the camera often close to Leda’s face and body, when she is relatively free and blissful. As her vacation becomes suffocating, the camera recedes.”

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“The Lost Daughter has the pacing and cut-up structure of a mystery—though one that withholds both answers and questions… Gyllenhaal and cinematographer Hélène Louvart, cannily, don’t create a visual difference between the two time-frames. Leda’s turbulent past haunts her brittle present, so it’s only right that they look the same.”

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