The Wonder (2022), directed by Sebastián Lelio and based on Emma Donoghue’s novel, is a haunting, slow-burn psychological drama that grips you with its unsettling atmosphere and richly layered narrative. Set in 1862 Ireland, the film revolves around a young girl, Anna (Kila Lord Cassidy), who, it’s claimed, has not eaten for months yet remains alive and well, leading to widespread fascination and suspicion. A nurse, Lib (Florence Pugh), is sent to observe her, tasked with determining whether this is a miracle, a hoax, or something more sinister.
The beauty of The Wonder lies in its ability to create a sense of claustrophobia and tension from the simplest moments. The rural Irish setting, with its mist-covered fields and stark interiors, adds a weight to the already heavy atmosphere. Lelio’s direction is meticulous, focusing on the subtle interactions between the characters, while also drawing attention to the larger societal and religious forces that are at play in this small community. The cinematography is breathtaking, but it’s the sound design—the quiet creaks of a wooden house or the soft murmur of voices—that truly elevates the film’s sense of dread.
Florence Pugh delivers yet another stellar performance, embodying Lib with a quiet intensity. She brings depth to her character, whose own troubled past slowly unravels over the course of the film. Pugh’s subtle shifts in expression and her interactions with the villagers, particularly Anna’s mother (Elaine Cassidy), are riveting. It’s a performance that demands patience from the audience but rewards it with a deeply human portrayal of a woman searching for truth amid an ocean of superstition and fear.
The story’s central mystery—the “miracle” of Anna’s survival—raises poignant questions about faith, power, and the human need to control the uncontrollable. The Wonder doesn’t offer clear answers. Instead, it invites the viewer to reflect on the nature of belief and the lengths people will go to uphold it, even when faced with evidence to the contrary. The film’s pace is deliberate, requiring patience, but it’s also beautifully crafted, with each scene building toward a revelatory conclusion that is both satisfying and disquieting.
However, the film’s slower pace may be a point of contention for some. While the slow-burn tension works for most of the film, certain moments feel drawn out, and there’s a sense that some viewers may find themselves impatient for the story to move forward. The tension, though palpable, can sometimes feel as though it’s spinning its wheels before reaching its emotional payoff.
In the end, The Wonder is a film that demands reflection and a willingness to sit with its discomforts. It’s not a traditional mystery or thriller, but rather an exploration of human nature and the often dangerous grip that belief can have on people. With a standout performance from Pugh, evocative cinematography, and a story that lingers long after the credits roll, The Wonder is a meditative, unsettling experience that doesn’t give easy answers—but perhaps that’s exactly the point.
