When another woman’s (Dakota Johnson) child goes missing, while on holiday in Greece, Leda (Olivia Colman) begins to be taken back to her early and troubled years of motherhood.

The Lost Daughter begins like the perfect film, or travel series. With Olivia Colman on holiday, lying by the beach enjoying the occasional ice cream. However, as feature debut writer-director Maggie Gyllenhaal further opens the door, a past of emotional pain slowly creeps up on Colman’s Leda as she re-experiences tragic early years of motherhood - Colman’s eyes hiding years of pain and regret.

All stemming from the missing daughter of Dakota Johnson’s young mother, Nina. Something about this event reveals a much more worried, troubled and oddly behaving side to Leda. She experiences flashbacks to her life with two young daughters of her own (her younger self played by Jessie Buckley). There’s an air of drama brought about in both times, revealing an excellent central performance to boost a simplistic, yet effective character study. Drama which also contextualises and enhances many of Leda’s reactions.

While most elements feel stripped down this simply allows for the character to take centre stage and behaviour and responses move the drama in a truly compelling way. Leda’s tried to put her life on pause by retreating, still to work, to a Greek island, yet finds herself constantly referring to her seemingly estranged children as her past truly catches up with her, almost put on replay in dual first and third person perspective.

Tension lies in the friendliest scenes. As Leda and Nina converse, we worry that Leda’s actions, such as taking the doll of Nina’s child, will be found out, all while managing to avoid a general dislike for the central figure. Even in scenes exploring Leda hiding her knowledge of Nina’s affair, further echoing her own life, the stakes feel high for her.

There’s something about the general tone and atmosphere of The Lost Daughter that quietly brings you in to explore the past of the troubled figure at the centre. One who clearly has many regrets surrounding her past. All conveyed in a fantastically subtle central performance from Colman, and a great supporting cast - particularly Johnson and Buckley - all of whom manage to lift the gradually growing emotional pain, tragedy, regret and tension; becoming increasingly powerful as the actions, thoughts and feelings of the characters allow the narrative to progress. It’s a fine piece of work, one of the best of 2021’s best, which almost comes from nowhere.

***** <-- Four Stars Jamie Skinner