A Haunting Portrayal of Motherhood in "The Lost Daughter"
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.

Adrian Pasdar, R.J. Preston and Barry Tubb star in this eerie film that melds two distinct genres: the old-fashioned Western and the jump-out-of-your-seat horror film. A pack of rough-and-tumble cowboys stumble upon a parcel of land that used to be a burial ground for Native Americans and claim it for themselves, unleashing the fury of the spirits that call it home. Suddenly, they must deal with foes of an altogether different sort.
'The Lost Daughter' doesn't paint over the choices Leda and Nina make as mothers as right or wrong but examines the messy in-between.
For those tranquil houses with white fences, what is happening behind every closed door?
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
In 'Little Boxes," an interracial family moves to an all-white town where they face the judgement of others who have never been exposed to people of color before.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.