“This isn’t about how difficult it is to raise a child. We’re talking about the moments of terror and absolute desperation along with moments of true, heart-wrenching ecstasy.' Olivia Colman and Maggie Gyllenhaal dig into that ‘Lost Daughter’ ending
Olivia Colman and Maggie Gyllenhaal are hanging at the posh Ham Yard Hotel in London’s Soho district, and there’s a low-key freak-out happening because Phoebe Waller-Bridge is in the venue’s theater to see
This easy camaraderie between Colman and Gyllenhaal began from the moment they met on the Fourth of July in 2019. Gyllenhaal was several months into adapting “The Lost Daughter,” Elena Ferrante’s novel about Leda, a middle-aged professor taking a working vacation on a Greek island. A chance meeting with a young mother, Nina , prompts Leda to make some curious choices as she sifts through her own conflicted feelings about being a parent.
Through flashbacks, we see the young Leda struggle with balancing the demands of mothering young children and her burgeoning academic career. The scenes are sometimes painful to watch. When Colman first saw “The Lost Daughter” at its Venice Film Festival world premiere, she says she had to look at the ceiling and count to 10 during the moment when Buckley’s Leda refuses to kiss her daughter’s hurt finger.“It broke my heart,” Colman says. Gyllenhaal nods in agreement.
Adds Gyllenhaal, 44, a mother of two daughters with actor Peter Sarsgaard: “Leda threw a doll out the window. That’s f—up, right? But she’s not going to jail. It’s not abuse. But those are the things that come back to you, when you’re overwhelmed and every once in a while, you get a little hot in your heart and later think, ‘Oh, God, I shouldn’t have done that.’”
“Mama, what are you doing, why haven’t you called? Won’t you at least let us know if you’re alive or dead?” Leda’s answer. “I’m dead, but I’m fine.”From the moment she began writing the adaptation, Gyllenhaal was thinking about the book’s last page. How couldbe the ending? Though Gyllenhaal doesn’t know this for sure, she believes Ferrante intended the ending to signify that Leda had left behind her shame and anxiety and been reborn.
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