The Wonder begins somewhat unexpectedly. Instead of opening onto the marshy plains of Ireland, the image of a film set fills the screen. A large scaffolding structure stands before us, as well as electrical cables and lighting equipment. It’s an assault of modernity, blinding us with bright white and primary colours as we are told by Niamh Algar’s voiceover that the film is inhabited by characters who fully believe in their stories.

On the surface, Sebastián Lelio’s adaptation of Emma Donoghue’s novel is about something else entirely, focusing on the mission of a young English nurse, Lib Wright (played sternly by Florence Pugh), as she is asked to be part of a watch over a young girl, Anna, who hasn’t eaten in four months. 

Lib watches over Anna during the day, while a nun takes over during the night. Together they are asked to observe the phenomenon, although it’s a mystery to all, even Lib, whether they are trying to prove it to be a hoax or a miracle.

But the jarring opening tells us exactly what the film is really about: The Wonder is about stories. What we believe to be true, the stories we tell ourselves to survive and the conflict between science and miracles. 

It’s not the only time the fourth wall is broken; Algar also breaks character within the world of 1862 to talk to us, as well as being bookended in the film’s final scene. It’s a strange choice, and perhaps one that would have been more effective if it had ceased after the opening shot. 

But even if slightly unnecessary, it still provides an interesting lens through which to view the period drama.

The Wonder is gorgeously bleak and provides the perfect backdrop for Florence Pugh to shine against. In perhaps her most mature and refined performance to date, she strikes a perfect balance between steadiness and doubt, and transforms herself into an intriguingly austere persona. 

Pugh has been dubbed one of the best young actors of her generation, but she quietly subdues her youth here to give us something that feels very different.

Supported by a strong cast in Niamh Algar, Toby Jones and Tom Burke, Pugh is perhaps at her best when paired with Kíla Lord Cassidy, whose incredibly controlled duality in Anna is nothing less than impressive.

When we transition from the fourth-wall-shattering opening shot into the fictional world of The Wonder, it’s equally stark, with the quiet, isolated Irish village seeming endless and empty, looking almost as if it’s shot through the cloudy hues of a grey sky.

It is a horror hidden under the veil of a period drama. Although there are no scares here, the unsettling atmosphere, which is enhanced by the aching and moaning score by Matthew Herbert, leaves behind a coldness that is undeniably eerie. The screenplay is efficient and at times angelic, especially in Lib and Anna’s first meeting. Visually, the film is surprisingly sharp. During the more simple moments, it is heightened by the sweeping Irish plains and, at its best, it is fresh and frightening looking.

The Wonder is a strong film led by a thoughtful performance from Florence Pugh and a steady atmospheric backdrop. Perhaps the only thing that hinders this is the gimmick of self-reference, but even that’s not quite enough to detract from the quiet and almost other-worldly story it chooses to tell.

The Wonder is available to stream from 16th October 2022 on Netflix.

Images: Netflix