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Colman plays Leda, who while alone on holiday
in Greece, befriends a young mother and daughter. The meeting
brings back painful memories of her own decisions towards her
children.
Gyllenhaal and Colman spoke to Reuters about the story and
communicating with the famously secretive Ferrante.
Below are excerpts edited for length and clarity.
Q: Why did you pick this story for your feature directing debut?
Gyllenhaal: "When I read Ferrante for the first time, I guess I
felt like she was saying things out loud that I knew to be true,
but that I had never heard said out loud. And I found that both
disturbing and comforting, and I thought, in fact more than
that, it was kind of like ... a really exciting shock."
Q: What was it like liaising with Ferrante?
Gyllenhaal: "All my interactions with her, which have all been
via email, have been everything you would want them to be.
There's something amazing about her being anonymous because she
can be the fantasy that I want her to be. And she has been
nothing but supportive at every turn ... really intelligently,
thoughtfully supportive."
Q: What attracted you to the role and as a mother, did any
aspects of the story resonate with you?
Colman: "I don't think I'd ever seen anything where someone says
'I left and it was amazing' so I found it fascinating. Leda is
very different to me ... I couldn't leave and I wouldn't want
to. But I do understand the thought process behind it and I
think most parents will also feel the same. Everyone's gone 'if
I could just have, oh my god, just an hour on my own' though she
took it to an extreme."
Q: You filmed in Greece early in the pandemic when travel was
difficult and formed a bubble, what was that like?
Colman: "We all fell in love with each other and we all got on
really well and everyone had loved ones at home and so we were
missing all of them and just had such a nice time ... as soon as
Maggie said 'wrap', people would go in the sea. I feel a bit bad
that it was so nice."
(Reporting by Hanna Rantala; Writing by Marie-Louise Gumuchian;
Editing by Alexandra Hudson)
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