Issue link: https://digital.copcomm.com/i/1437291
41 W I N T E R Q 4 I S S U E F E A T U R E W h e n p i c t u r e e d i t o r A f f o n s o Gonçalves, ACE, signed on to make "The Lost Daughter," he wound up with a most interesting collabo- rator. Acclaimed as an actress for her work in films such as "Secretary" (2002), "Sher- rybaby" (2006), and "Crazy Heart" (2009), Maggie Gyllenhaal had never directed a film before. But she chose to turn Elena Ferrante's novel "The Lost Daughter" into her feature directing debut. R e l e a s e d b y N e t f l i x i n t h e a te r s o n Dec. 17 and available to stream as of Dec. 31, the intricately edited film invites viewers into the mind of high-minded middle-aged professor Leda Caruso (Olivia Colman) who, during an otherwise uneventful vacation in Greece, has a run-in with a rowdy, rather unrefined family from America, including young mother Nina (Dakota Johnson). Prompted by a series of encounters with Nina and her small daughter, Leda is inun- dated with memories of her own past as a young parent managing work obligations while raising two daughters. In a film that effortlessly and intuitively melds past and present, Leda is played in flashback by Jessie Buckley. The film co-stars Peter Sars- gaard, Ed Harris, and Paul Mescal. By the time cameras finally rolled in S e p te m b e r 2 0 2 0, h o w e v e r, " T h e L o s t Affonso Gonçalves (left). Book The 'Lost' of the HOW AFFONSO GONÇALVES BROUGHT HIS 'ALIVE AND BUOYANT' EDITING TO 'THE LOST DAUGHTER' By Peter Tonguette Photography Matt Infante