The Wonder

A very interesting watch, for the patient viewer or for any fan of periode pieces, drama, or psychological themed movies. The movie is not fastpaced, but it suits its topic: the wasting away of a child supposed to be able to survive off of God's sustenance only (read: without actually eating food). A miracle indeed, or is there more to it?

The movie is incredibly well scripted and fleshed out. The way the topics are developed throughout the movie are very engaging and original. This is a special movie in the sense that it brings up topics other movies have done before, but never in this novel-like way. Even the unlikely or hard to believe elements aren't that much of a nuissance because it makes for a good story. It is slow, which is one of the reasons I would consider it more arthouse instead of a movie for larger audiences. The slow pace emphasizes how agonizing and painful some of the themes and events are.

The only thing that rubbed me the wrong way is there are a few short parts where the fourth wall is broken. In my opinion, it did not have a clear function and only reduced my ability to really immerse myself. Especially since it is a movie about 19th century Ireland, I would have preferred everything stuck to that. I don't mind fourth wall breaks in general, but here, it just kept me questioning for the first hour what it's purpose was. All of this is set during a period of time in Ireland when the Great famine was a problem. There was no need for a narrator. It was not a comedy. It did not add to the understanding of the plot. Even after finishing the film, I don't understand nor agree with the odd choice.

Other than that, the acting is very good, especially by the main character (Florence Pugh plays the nurse who's supposed to keep watch of the fasting girl). Some characters seem a bit instrumental, e.g. The parents of the fasting girl, though their motives are eluded at, hardly say anything throughout it all. The scenery and camerawork is very much like most aspects of the movie: professionally well done, a pleasure to watch and fitting to the plot.

In short, it has a couple of downsides, but it is very much worth the watch and I imagine the right viewer will be very impressed by "The Wonder".

A quiet, wonderful film that sucks you in. Great script based on Emma Donaghue's work.

The viewer gets involved in what's transpiring on screen. He/she waits for the ending with great anticipation not knowing exactly how it will unfold which makes this an engaging psychological thriller as well. It's directed excellently by Sebastian Lelio.

The story takes place about a decade after the Great Famine in Ireland where its population was decimated. This context informs the story and it gives the film its milieu: a people emerging from untold suffering. And it explains the religious fervor of the survivors.

One can understand the motivation of the O'Donnell family for their actions. All the actors brilliantly give flesh to the urgency of their situation. In particular, Florence Pugh gives a tour de force performance. Such a nuanced performance. If you admired her in "Don't Worry Darling," she's far better here. And Kila Lord Cassidy is unequivocally talented for such a young girl. Perhaps, the fact that the actor who plays Rosaleen is her mother in real life inspired her to turn in a riveting performance as Ann.

One draws many lessons here. Can faith misguide a person in an extreme way?

It's a well-rehearsed truism to say that the act of observing a thing changes the object of the object being observed. That's just one of the weighty questions at the heart of this meditative historical drama, one that's also concerned with the interaction of science and faith, free will, when or if to stage an intervention with people bent on self-destructive paths, and the sometimes overwhelming power of guilt - both false guilt and that which has more reason.

To call it patient - despite its under 2-hour running time - is an understatement, but it's never dull thanks in large part to the haunting score and soundscape, and Florence Pugh's truly remarkable central performance (she seems to be packing a few of those into her still young career). A strange and potentially alienating device opens the film, drawing attention to its artificiality, but in doing so it highlights that question of observation changing the observed and encouraging us to do what we're told the characters are doing - believing their own stories as we experience them.

There's a thesis to be written here on the film's theological allusions, one I won't attempt to start here. But it has caused me to reflect on my own experience of over twenty years as an ordained Anglican (i.e. Episcopal) priest. I've seen many people do a wide variety of things in that time, things done in the name of their faith, for reasons of guilt or redemption, that are destructive to themselves or those around them. I've even, sadly, met and listened to people who have been forced to experience precisely the horrific thing, the hidden secret of the past on which the plot turns. If it seems too awful to be true, I can assure you it isn't - for all this film's deliberate artifice, it's a deeply truthful one.

Dealing with almost as many fundamental questions as you might care to bring to it, this is a weighty, serious, but still moving film that's carried by Pugh's brilliance and the production's patient tone. You will likely think on it for days.

Florence Pugh stars as an English nurse who travels to Ireland in 1860 to watch over an eleven-year-old girl who has not eaten in the four months since her First Holy Communion. She has been hired to either prove or disprove the possibility of a miracle in the Irish village.

Kila Lord Cassidy is the young girl and she more than holds her own while on screen with Ms. Pugh. Most of the film is almost a two person play with a pair of magnificent performances.

The entire cast is superb but the two main players are so good that I was riveted by the unpredictable story.

As a life long but often doubting Catholic, I highly recommend this great movie.

A committed, immersive performance by young newcomer Kíla Lord Cassidy spearheads this period mystery set in rural Ireland in the 19th century, where an 11-year-old girl in a highly religious family has been fasting for four months - seemingly without any physical repercussions. Florence Pugh is the young nurse sent to observe the girl - and solve the puzzle for us, of course. Although Pugh's performance comes off as anachronistic at times and the film drags in an uneventful middle section which seems to have little other purpose than to fill out the running time, the mystery itself is clever and incorporates enough historical, religious and sociocultural aspects to make this weighty and effective. And whenever you start doubting the story's potential for veracity, Cassidy's authentic performance sucks you back into this bygone world of repressed guilt, shame and emotions.