Daughter Of Mine (2018)


Directed by Laura Bispuri
Country: Italy

Laura Bispuri’s sophomore feature Daughter Of Mine takes mother-daughter relationships to an interesting level. Lifted by the sharp performances of its ensemble cast, this is an emotionally resonant tale that, still, could have offered more than just some modest pleasures.

The story centers on Vittoria (Sara Casu), a bashful 10-year-old who lives in a quiet Sardinian village with her mother, Tina (Valeria Golino), and father, Umberto (Michele Carboni). One day, she finds out she was adopted at birth and that her biological mother is Angelica (Alba Rohrwacher, the younger sister of prestigious director Alice Rohrwacher), an alcoholic young woman who spends her nights at the local bar asking men to pay her drinks. The good-hearted Tina has helped her financially since the kid was born, but now the young lady faces an eviction order that has no solution in sight.

Meanwhile, Vittoria starts visiting Angelica without Tina’s knowledge. The tactless, irresponsible young mother seems pleased for having the kid around before departing for good. In such a way that Tina becomes distressed with the idea of losing her only daughter. It’s sad when we conclude that this sudden bond has ulterior motives.


Interesting dynamics emerge from this triangle and there are a few ignominious situations to which a 10-year-old shouldn’t be exposed. They serve as emotional shockers in a journey that feels at once tough and merciful. After all, Vittoria is a victim of the circumstances.

If Golino convinces without enchanting, Rohrwacher, in her second collaboration with Bispuri, gives one of her best performances by shaping her character as it should be - with no structure, no reliability, no will to change. As far as the young Casu is concerned, this is an agreeable surprise with the qualified newcomer revealing strong acting skills as she personifies the object of dispute between the mothers.

Whereas Bispuri’s direction is guileless and focused, the script, co-written with Francesca Manieri, could have been slightly adjusted, especially in its final section where the complexity of the situation spins no payoff and got me a bit frustrated.