“Exciting and dangerous.”These were, according to the New Statesman, the first words of Maggie Gyllenhaal after it closed stolen doll, a novel by Elena Ferrante published in 2006 (translated by Gallimard in 2009).Quickly, the American actress decided to send, through her publisher, a long letter to the Italian novelist whose true identity remains a secret.She pressed him: the book contained the material of an film as disturbing and heady as the prose of ferrant.

This film, The Lost Daughter, has been available on Netflix since December 31.It is the first feature film by Maggie Gyllenhaal as a director and the first adaptation in English of a novel by Elena Ferrante (her famous saga the prodigious friend has been the subject of aNeapolitan dialect series).

For The Atlantic, The Lost Daughter is a tour de force, as the Ferrante's language in a stolen doll seemed difficult to transpose on the screen.The purpose of her narrator, LEDA, “Dowing in the cascades of feverish and dreamlike sentences, while in her mind follow one another at a frantic pace the puffs of memories, the wandering thoughts, the colorful reveries, the earth on the ground on the groundhis holidays".The American magazine continues:

To do this, the filmmaker used two actresses who each embody LEDA at two times in her life.Olivia Colman (The Crown) lends her features to the almost fifty -year -old woman, a brilliant American literature professor who came to spend part of the summer alone on a Greek island.As for Jessie Buckley, she resuscitates, in a series of flashbacks, the woman that

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