“That’s a story, Kitty. I’m looking for facts.”Lib Wright
Sebastian Lelio’s adaptation of Emma Donoghue’s novel is a character study of a Nightingale nurse hired by a remote Irish village to observe a child who has apparently survived for months without eating. At first The Wonder seems set up for a confrontation between rationality and religion, Florence Pugh’s Lib Wright dismissing the claim outright as impossible whilst the committee that hired her have various vested interests in the apparent miracle, be it scientific or religious. In fact, the film is more about the risk of unshakeable certainty (whatever its source) rather than the flexibility that makes communal life possible. Lelio chooses to open the film with a bold Brechtian alienation device (inspired by Goddard’s opening to Le Mepris), drawing the audience’s attention not only to the fact that this is a story, but also that it is about stories — specifically the the fictions small and large which drive us, and the selective facts we choose to craft the story of our identity. Pugh is wonderful as the nurse, initially assured in her knowledge but uncomfortable as an outsider, these facets of her performance becoming inverted the more time she spends around the mistrustful villagers (“What right does a stranger have to come between a child and its people?” she is scolded). The Wonder features a seasoned supporting cast, though only consummate character actor Toby Jones stands out as the village physician. With a limited and straightforward plot, ultimately one’s view of the film will depend on one’s appreciation for the meta-narrative around the power and necessity of stories in our lives, as Lib discovers both the danger and utility of belief in such tales.