A mesmerizing Florence Pugh contemplates miracles in The Wonder
Filmmaker Sebastián Lelio impresses yet again with the story of an English nurse's test of faith in a 19th century Irish village

If a crisis of faith is a journey from belief to doubt, the opposite could be referred to as a come-to-Jesus moment. Writer-director Sebastián Lelio’s The Wonder (in select theaters November 2 and on Netflix November 16) is an example of the latter, the tale of a skeptic who’s tempted into seeing the light while investigating a miracle. Thanks to a typically mesmerizing leading turn from Florence Pugh, it’s a film that can hold up a mirror to believers and nonbelievers alike as the best stories of faith do.
Think of Fox Mulder and Dana Scully, the conspiracist and the cynic—there’s tension and baggage and, yes, wonder to be found when facing the unknown. Believe it or not (and that is the theme here), The Wonder has more in common with The X-Files than it appears on paper. This is a mystery, after all, one that sheds light less on its central, unanswerable question than on the people seeking answers. The fun, or in this case the eerily tense psychological drama, comes from the asking. In 1862, English nurse Lib Wright (Pugh) arrives in the Irish countryside to scrutinize what has become a local tourist attraction: Is Anna O’Donnell (Kíla Lord Cassidy) truly living off manna from heaven instead of food? Is this young girl’s allegedly four-month fast divine intervention, or is there a more Earth-bound explanation—is it a stunt, a scam, or a case of religious extremism and abuse?
Villagers in the town, which is nestled among windswept Midlands and is still recovering from the trauma of Ireland’s Great Famine, fall mostly on the spiritual side of that divide. A committee of five men, including a doctor (Toby Jones), has hired Lib and a taciturn nun (Josie Walker) to observe Anna in alternating shifts around the clock to present their unbiased findings and get to the bottom of this phenomenon. Lib, a Crimea war nurse with a tragic past, is well suited to the task; unbothered by the still-fraught tensions between Ireland and England that make her welcome less than warm, she administers brusque physicals upon Anna, determined to debunk the notion that piety can provide sustenance.
It isn’t long before Anna’s pure innocence causes Lib to succumb. Not, as you might expect, into Catholicism or any dismissal of her facts-first approach. Rather, she begins to care for Anna, eventually enough to defy O’Donnell matriarch Rosaleen (a haunting Elaine Cassidy), whose devotion is fueled by grief over losing a son—“My children will be in heaven,” she proclaims with wide-eyed zeal. In firelit interludes, we learn why the cagey Lib might come to treat Anna as something like a daughter. Alongside a similarly realist reporter (Tom Burke) with a surprising past of his own, Lib unearths her own capacity for fervent obsession as Anna’s health inevitably deteriorates.