On Netflix, “The Lost Daughter”: Maggie Gyllenhaal and Olivia Colman give us a beautiful motherhood – Télérama.fr

For her first film behind the camera, the heroine of the series “The Deuce” succeeds in adapting a little-known novel by Elena Ferrante. And offers to the actress of “The Crown”, always royal, a magnificent role of woman in full existential crisis.

Critic Louis Skorecki theorized it in the last century in one of his stimulating chronicles of films broadcast on television for the newspaper. Release : actor’s cinema, “Even mediocre […] is never a bland cinema ”. In this article on That Thing You Do!, the endearing first feature film directed by Tom Hanks, he specifies: “When he goes behind the camera, the actor invents journeys and challenges for himself. He dreams out loud. “ Perhaps because, as Skorecki nicely writes in another text (devoted, him, to Lessons in seduction, by Barbra Streisand), “Behind the camera, the actor is doubly exposed”.

The Skoreckian axiom is verified by the vision of The Lost Daughter, the first film directed, at 44, by Maggie Gyllenhaal, available exclusively on Netflix four months after receiving the award for screenplay at the Venice Film Festival. We were amazed by the actress in The Secretary (2002), the film by Steven Shainberg which revealed her in a role as sensual as disturbing, then in the series The Deuce (2017-2019), where she plays a prostitute seeking her emancipation in the porn industry. The filmmaker, despite a few debutante slags (a slightly supported symbolism, in particular), is proving promising.