The Wonder
Welcome to Breakout, the MASSIVE scheme sending 12 first-time writers to London Film Festival to write their debut professional film reviews. For the 12 days following the 12 days of the festival, we’ll be publishing the writing of our chosen stars to celebrate cinema at its finest and introduce you to the next generation’s most promising new critics.
Next Up, London’s Ada Urbaniak reviews The Wonder.
The Wonder defies expectations set by the Victoria era it is set in. In the first few seconds, the fourth wall is broken, framing a soundstage before turning to English Nurse Lib (Florence Pugh) in a ship on route to Ireland. Our narrator, Kitty (Niamh Algar), reaffirms that “this is a movie called The Wonder,” but reassures us “to believe in this one”. The purpose of this familiar Brechtian storytelling device is unclear, and gives a mixed message: how can you invest in people you’re told are not real?
Nurse Lib arrives in Ireland; she was sent there to perform a watch on 11-year-old Anna O’Donnell (Kila Lord Cassidy) who has survived without food for months. She does this alongside a nun, physicalising the conflict between science and religion. A real tension in the conflict radiates off the screen, as Nurse Lib imposes a physical contact ban between the girl and her family without the permission of the council in charge of the case. Slowly, the ugly truth begins to unravel, and Pugh brilliantly shows off her acting skills. She is able to evoke anxiety through a restrained, professional demeanour.
A haunting musical score fades in and out of the film, making The Wonder a captivating psychological thriller. Sebastián Lelio, the film’s director, does a fantastic job in making the audience feel powerless watching a young girl wither away in the name of Catholic repentance. Visually, the characters are nearly always a few paces away from the camera, and the dark, muted colour palette of the Irish Moorlands and its inhabitants make it more believable that the land was still recovering from the Irish Famine.
The film showcases the sad reality of human loss that occurs through extreme religious belief, with striking artistry.
Ada Urbaniak is a Polish born, Northern raised all-round creative who is building their career in the film, television and theatre industries both in front and behind the camera in London and Sheffield. Their favourite things are walks in national parks, writing outside on a sunny day, and gobbling down a Sunday roast: a perfect day is achieved with all three.
The Wonder will be released worldwide on Netflix on November 16. Check back here for more Breakout reviews.