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A filha perdida, de Maggie Gyllenhaal: alteridades e ambivalĂȘncias
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Dirigido por Maggie Gyllenhaal, o filme A filha perdida, adaptado do romance
homÎnimo escrito por Elena Ferrante, narra as férias de Leda, uma professora
universitĂĄria que questiona a prĂłpria maternidade ao entrar em contato com uma jovem
mĂŁe e sua filha. Em um incĂŽmodo jogo de espelhos, a protagonista mergulha em seu
passado, expondo gradativamente sua biografia e surpreendendo o espectador com
revelaçÔes familiares. A proposta dessa recensão é analisar o longa-metragem na chave
da alteridade e discutir as motivaçÔes das personagens a partir do encontro e do conflito
de geraçÔes, sobretudo na perspectiva das ambivalĂȘncias da maternidade. Temas como
envelhecimento, liberdade sexual feminina, casamento, emergem da narrativa
cinematogråfica, lançada em 2021, e protagonizada por Olivia Colman. Um dos objetivos
Ă© examinar o filme com vistas ao O segundo sexo, de Simone de Beauvoir (2019), para
quem a mulher não nasce mulher, torna-se mulher, jå que as pressÔes sociais e os ajustes
demandados pela configuração patriarcal delineiam o feminino.
Directed by Maggie Gyllenhaal, the movie The lost daughter, adapted from homonymous novel written by Elena Ferrante, narrates LedaÂŽs vacation, a College Professor who questions her own maternity when she gets in touch with a young mother and her daughter. Inside an uncomfortable game of mirrors, the protagonist dives into her past, gradually exposing her biography, surprising the spectator with family revelations. This review proposal is to analyse the film in the key of otherness and discuss the characters motivations from the meeting and the generations conflict, especially regarding to motherhood ambivalences perspective. Topics such as aging, female sexual freedom, marriage, emerge from the cinematographic narrative, released in 2021, and starring Olivia Colman. One of the goals is to examine the film using the book The second sex, by Simone de Beauvoir (2019), for whom a woman is not born a woman, she becomes a woman, since the social pressures and the adjustments demanded by the patriarchal configuration delineate the feminine.
Directed by Maggie Gyllenhaal, the movie The lost daughter, adapted from homonymous novel written by Elena Ferrante, narrates LedaÂŽs vacation, a College Professor who questions her own maternity when she gets in touch with a young mother and her daughter. Inside an uncomfortable game of mirrors, the protagonist dives into her past, gradually exposing her biography, surprising the spectator with family revelations. This review proposal is to analyse the film in the key of otherness and discuss the characters motivations from the meeting and the generations conflict, especially regarding to motherhood ambivalences perspective. Topics such as aging, female sexual freedom, marriage, emerge from the cinematographic narrative, released in 2021, and starring Olivia Colman. One of the goals is to examine the film using the book The second sex, by Simone de Beauvoir (2019), for whom a woman is not born a woman, she becomes a woman, since the social pressures and the adjustments demanded by the patriarchal configuration delineate the feminine.
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A filha perdida Cinema Maternidade Feminino Movie Motherhood Feminine . Faculdade de Artes e Humanidades
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Universidade da Madeira