--- title: "The Wonder" year: 2022 kind: "film" canonical: "https://film.one/film/the-wonder" fi1m_id: "the-wonder" imdb_id: "tt9288822" tmdb_id: 823766 wikidata_id: "Q113331181" fi1m_score: 63 critics_score: 65 critics_reviews: 23 published: "2026-09-30T21:05:03.055936+00:00" updated: "2026-09-30T21:05:03.627703+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The Wonder (2022) Directed by Sebastián Lelio · 1h 48m · MPA R · Drama, Mystery ## Identity The Wonder - **Canonical:** https://film.one/film/the-wonder - **Type:** Film - **Fi1m ID:** the-wonder - **IMDb ID:** tt9288822 - **TMDB ID:** 823766 - **Wikidata ID:** Q113331181 - **Same entity:** https://www.imdb.com/title/tt9288822/, https://www.themoviedb.org/movie/823766, https://www.wikidata.org/wiki/Q113331181 **Fi1m score: 63** · Critics 65 from 23 reviews *In a sentence:* A nurse, a nun, a fasting girl and a narrator who keeps reminding us it is only a film > Sebastián Lelio’s adaptation of Emma Donoghue’s novel is beautifully shot and anchored by Florence Pugh. It is also wrapped in a framing device that keeps tapping us on the shoulder, and the last half hour gives away much of what the first hour built. ## Synopsis The Irish Midlands, 1862, thirteen years after the famine. Lib Wright (Florence Pugh), an English nurse who served in the Crimea, is hired by a committee of village men, among them the doctor, McBrearty (Toby Jones), and the priest, Father Thaddeus (Ciarán Hinds), to watch an eleven-year-old girl, Anna O’Donnell (Kíla Lord Cassidy), who says she has not eaten in four months and lives on manna from heaven. Lib is to observe and report, not to feed or treat, sharing shifts with a nun, Sister Michael (Josie Walker). Anna’s parents, Rosaleen (Elaine Cassidy) and Malachy (Caolan Byrne), admit pilgrims to the cottage; a London journalist, Will Byrne (Tom Burke), arrives to expose a fraud. Lib wants to find out how the child is being fed. The village wants a miracle. ## Review The film opens not in Ireland but on a soundstage: scaffolding, lamps, plywood, and a woman’s voice (Niamh Algar) telling us that this is a film called *The Wonder* and that its people believe their stories completely. Then the camera finds a ship’s hold and a woman eating her dinner. It is a bold way in, and it tells you what Sebastián Lelio thinks his film is about: not whether a girl is eating but why a village needs her not to be. It is also a mistake. What follows for an hour is fine, cold, patient storytelling. It is 1862, the Irish Midlands, thirteen years after the famine, and Lib Wright (Florence Pugh), an English nurse, is hired to watch an eleven-year-old, Anna O’Donnell (Kíla Lord Cassidy), who says she has not eaten in four months. Pugh plays Lib with her chin set and her eyes doing the work. She trusts what she can measure, and Pugh shows how much of that is armour: alone at the inn she counts out drops of laudanum, pricks her finger with a needle, and eats. Cassidy is uncanny without effort, a child who recites her prayers as if they were a comfort nobody else in the house has. Ari Wegner shoots the bog and the sky in one flat, greenish grey, so that Lib’s deep blue dress is the only strong colour in the county. Grant Montgomery gives the O’Donnell cottage low ceilings and one small window, and the committee a long table with the men ranged along one side. Matthew Herbert’s score is mostly voices, breath and hums and a wordless choir that does not sound like church music, and it unsettles more than any image. Kristina Hetherington cuts the watching slowly and the meals sharply. Around the two women, Lelio, Donoghue and Alice Birch have arranged a village. Toby Jones’s doctor wants the girl to be a scientific marvel and Ciarán Hinds’s priest wants her to be a saint, and neither will say so. Elaine Cassidy, as Anna’s mother Rosaleen, is the hardest figure to read, a woman whose love for her daughter and her faith in God look the same from outside. Tom Burke plays the journalist Will Byrne rumpled, clever and a little too pleased with both. Josie Walker’s Sister Michael takes the other shift and says almost nothing. For most of that first hour we were properly gripped. We watched Anna as Lib watched her: the bedclothes, the mother’s kiss, the hands. Later, when Lib draws a conclusion and acts on it, the consequence is shown on Anna’s face and body, and Cassidy’s work in those scenes is the best thing in the film. It frightened us. The evidence arrives, and then the question is what a decent person does with it. Then the framing device comes back. The film pauses more than once to remind us that we are watching a story, and each time the stillness it has worked for drains away. What was meant to say that everyone in this village lives inside a story reads instead as hedging, as if Lelio did not trust the plain version to carry the weight. The last half hour, which we will not describe, settles the mystery and the moral problem together, and we said, oh come on. The critics who have called it preposterous have a case; we would put it at convenient. Two smaller caveats. The famine is present as a fact and an ache, but the film is not much interested in who caused it, and an English nurse arriving to talk sense to the Irish is a shape some viewers will find harder to swallow than the film realises. At 108 minutes it counts the days, and there are more days than there is incident. It is worth your evening if Pugh is your reason, and she should be; this and [*Lady Macbeth*](https://film.one/film/lady-macbeth) (2016) are her best work. Watch it at home with the lights off, where Herbert’s voices come close and the soundstage matters less. Do not expect a wonder. Expect a good hour of watching, and then an argument. *Fi1m score 63, published 30 September 2026.* ## What the critics say Most critics come down on the film’s side, though not by a wide margin: eleven positive notices against seven mixed and five negative. The praise gathers almost entirely around Florence Pugh, whose performance is described as commanding and layered even by reviewers who dislike the film around her. Ari Wegner’s misty Irish landscapes and the eerie score are the next most frequent compliments, and several critics single out Kíla Lord Cassidy as Anna. The reservations are about the storytelling. The self-conscious framing device draws complaints from admirers and detractors alike, and a number of reviews find the middle stretch slow or repetitive and the ideas about faith thinner than they first appear. The spread is wide, running from strong recommendations to rejection. Variety judges the resolution preposterous and says it mishandles the film’s central ethical conflict, while Paste objects that the portrayal of the Irish is callous and leaves out British responsibility for the famine. ## Straight answers **Is The Wonder worth watching?** *The Wonder* is worth watching for Florence Pugh's performance and a strong, cold first hour, and we scored it 63. Sebastián Lelio's adaptation of Emma Donoghue's novel is handsomely made, but a framing device keeps reminding us it is only a film and the last half hour settles the mystery too conveniently. Watch it for Pugh, not for the answer. **How long is The Wonder, and what is it rated?** *The Wonder* runs 1h 48m and is rated R by the MPA in the US. It is a drama and mystery film. **Where can I watch The Wonder in the US?** *The Wonder* is streaming on Netflix in the US. Availability is checked daily; the links above go straight to each service. **How violent or frightening is The Wonder, and is it suitable for children?** *The Wonder* has no UK certificate and is rated R in America, and it is a slow period drama rather than a violent or gory one. The unease comes from watching a child who says she has not eaten, a nurse dosing herself with laudanum, and a wordless choral score; one late stretch showing the girl's decline frightened us. It is not for young children, and teenagers may find the pace harder going than the content. **How does The Wonder compare to Ordet?** *The Wonder* and [*Ordet*](https://film.one/film/ordet) both ask a household to believe in a miracle, but Carl Theodor Dreyer plays his farmhouse story completely straight while Sebastián Lelio keeps interrupting his to remind us we are watching a film. Dreyer's is the finer and more unnerving work, though its long, formal speeches ask more patience. Choose *The Wonder* for Florence Pugh and a brisker mystery; choose *Ordet* if you can settle into slowness. **Is The Wonder based on a true story or a book?** *The Wonder* is based on a novel by Emma Donoghue, who also worked on the screenplay with Sebastián Lelio and Alice Birch. It is a self-contained mystery about an English nurse hired to watch a fasting girl in the Irish Midlands in 1862, and you do not need to have read the book to follow it. Our review does not judge how closely the film follows the page. **What should I watch after The Wonder?** After *The Wonder*, try [*Ordet*](https://film.one/film/ordet) (1955, Fi1m 86): Dreyer’s farmhouse miracle, played completely straight, and all the more unnerving for it. Then [*Saint Maud*](https://film.one/film/saint-maud) (2019, Fi1m 82): A nurse, a patient and a faith that will not be argued with; ninety brisk minutes; and [*Black Narcissus*](https://film.one/film/black-narcissus) (1947, Fi1m 88): Nuns in the mountains, colour that burns, and belief coming apart at altitude. ### Reviews we read (23) - **The Hollywood Reporter**, Stephen Farber (90/100, inferred): Farber finds the film illuminating and powerful, with Florence Pugh’s performance as its chief strength. He also praises the dark-tinged cinematography and eerie score, while noting some supporting roles feel underwritten. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-wonder-florence-pugh-sebastian-lelio-netflix-1235211809/) - **The Guardian**, Benjamin Lee (85/100, inferred): The critic finds the film a persuasive, involving drama, despite an ineffective framing device. Florence Pugh’s commanding performance is singled out as its central strength. [Read](https://www.theguardian.com/film/2022/sep/14/the-wonder-review-florence-pugh-is-miraculously-good-in-eerie-drama) - **The AV Club**, Jack Smart (B+): The review finds the film atmospheric and compelling, praising Sebastián Lelio’s handling of its mystery without sacrificing ambiguity. It particularly singles out Florence Pugh’s mesmerizing performance and the film’s striking visuals and music. [Read](https://www.avclub.com/film-review-the-wonder-florence-pugh-sebastian-lelio-1849726496) - **Evening Standard**, Charlotte O'Sullivan (4/5): O'Sullivan finds the film tense and compelling, with its cast and bold direction outweighing screenplay flaws. She especially praises Florence Pugh's performance and the atmospheric cinematography and score. [Read](https://www.standard.co.uk/culture/film/the-wonder-movie-review-florence-pugh-ireland-miracle-niamh-algar-b1030762.html) - **Little White Lies**, Lillian Crawford (3/4/3): The review finds the film compelling in its performances and setting, but says its self-conscious framing undermines the story. It praises Florence Pugh and Kíla Lord Cassidy’s performances and Ari Wegner’s misty Irish landscapes. [Read](https://lwlies.com/reviews/the-wonder) - **Radio Times**, Molly Moss (4/5): The review praises the film as an eerie period drama about the dangers of blind faith. It singles out Florence Pugh’s mesmerising performance as the film’s anchor. [Read](https://www.radiotimes.com/movie-guide/b-avd0rp/the-wonder/) - **IndieWire**, David Ehrlich (B): Ehrlich finds the film’s ideas about belief compelling, though the drama often skims the surface and feels clipped. He praises its evocative visual design and score for conjuring the grief and despair left by the famine. [Read](https://www.indiewire.com/criticism/movies/the-wonder-review-florence-pugh-netflix-1234757742/) - **Slant Magazine**, Josh Wise (3/4): Wise finds the film a powerful study of how people become cloistered by their own stories. He singles out Florence Pugh’s compelling performance and the scenes revealing Elizabeth’s private grief. [Read](https://www.slantmagazine.com/film/the-wonder-review-florence-pugh-sebastian-lelio/) - **Screen Daily**, Tim Grierson (70/100, inferred): The standfirst gives a positive verdict, saying Florence Pugh impresses again. It singles out her performance as a strength in Sebastián Lelio’s adaptation. [Read](https://www.screendaily.com/reviews/the-wonder-toronto-review/5174469.article) - **Empire**, Ella Kemp (65/100, inferred): Kemp finds the film thoughtful and quietly hopeful, though slow and less eerie than it might have been. She especially praises Florence Pugh’s performance and the compassion Lelio draws from a bleak story. [Read](https://www.empireonline.com/movies/reviews/the-wonder/) - **The New York Times**, Manohla Dargis (60/100, inferred): The review gives a measured assessment of the film. It singles out Florence Pugh’s performance as a strength. [Read](https://www.nytimes.com/2022/11/17/movies/the-wonder-review.html) - **Variety**, Peter Debruge (25/100, inferred): Debruge finds the adaptation ultimately preposterous, arguing that its resolution mishandles the ethical conflict at its center. He praises Kíla Lord Cassidy’s eerie, serene portrayal of Anna, but criticizes the film’s self-conscious framing and miscalculated ending. [Read](https://variety.com/2022/film/reviews/the-wonder-review-florence-pugh-1235357812/) - **The Wrap** (90/100, inferred): The critic calls the film a career-best, praising its humane exploration of faith, reason and survival. Florence Pugh’s delicately powerful performance is singled out as especially memorable. [Read](https://www.thewrap.com/the-wonder-movie-review-florence-pugh-performance-stuns/) - **Collider**, Chase Hutchinson (B-): Hutchinson finds the film unwieldy but thematically ambitious, leaving a lasting impression despite its tangled storytelling. He singles out Florence Pugh’s compelling performance and the eerie score as its strengths. [Read](https://collider.com/the-wonder-review-florence-pugh/) - **The Playlist** (64/100, inferred): The URL identifies this as a review of The Wonder, but the page content is blocked. The critic’s verdict and any specific praise or complaint cannot be determined from the available text. [Read](https://theplaylist.net/the-wonder-review-florence-pugh-telluride-review-20220903/) - **/Film**, Chris Evangelista (6/10): The critic finds the film haunting and hypnotic but ultimately puzzled by its thin, repetitive story and unclear ideas. Florence Pugh’s layered performance and the eerie atmosphere stand out for praise. [Read](https://www.slashfilm.com/1007602/the-wonder-review-florence-pugh-investigates-a-miracle-in-this-chilly-oddity-tiff/) - **HeyUGuys** (50/100, inferred): The review calls the film a mixed bag, elevated by Florence Pugh’s performance. It praises her expressive acting and the atmospheric cinematography, while faulting the framing device and the film’s slow stretches. [Read](https://www.heyuguys.com/the-wonder-review/) - **Consequence**, Vanessa Armstrong (45/100, inferred): The review finds the film overburdened by its blunt, repetitive metaphors, though Pugh’s performance makes it engaging. It singles out her careful portrayal of Lib’s passion, sympathy, and flaws. [Read](https://consequence.net/2022/11/the-wonder-review-florence-pugh/) - **Eye for Film**, Amber Wilkinson (45/100, inferred): Wilkinson finds the film uneven, with plotting and characterization that keep it from fully succeeding. She praises Florence Pugh’s intense performance, complemented by Kíla Lord Cassidy’s determination as Anna. [Read](https://www.eyeforfilm.co.uk/review/the-wonder-2022-film-review-by-amber-wilkinson) - **Deadline**, Todd McCarthy (40/100, inferred): McCarthy finds the film atmospheric and intriguing but ultimately overworked and less compelling than its premise promises. He praises the visual work by Lelio and cinematographer Ari Wegner, along with Florence Pugh’s varied performance. [Read](https://deadline.com/2022/09/the-wonder-telluride-review-florence-pugh-in-sebastian-lelios-gothic-netflix-drama-1235107773/) - **Paste**, Natalia Keogan (6.2): Keogan argues that the film misses the mark with a callous, biased portrayal of Irish people. She objects especially to its omission of anti-Irish prejudice and British responsibility for the famine. [Read](https://www.pastemagazine.com/movies/netflix/the-wonder-review) - **Polygon**, Katie Rife (40/100, inferred): The review finds the film atmospheric and compelling at first, but increasingly frustrating as its mystery resolves and its themes lose focus. It praises Kíla Lord Cassidy’s performance and the evocative location photography. [Read](https://www.polygon.com/reviews/23461171/the-wonder-review-netflix-florence-pugh/) - **Digital Spy**, Gabriella Geisinger (30/100, inferred): Geisinger finds the film underwhelming, saying it lacks the mysticism and wonder needed to make its story compelling. She praises Florence Pugh’s layered performance, while also singling out Niamh Algar’s compelling supporting turn. [Read](https://www.digitalspy.com/movies/a41964689/the-wonder-review-florence-pugh/) ## Details - **Director:** Sebastián Lelio - **Director:** Sebastián Lelio - **Writer:** Alice Birch, Emma Donoghue, Sebastián Lelio - **Novel:** Emma Donoghue - **Cinematography:** Ari Wegner - **Editor:** Kristina Hetherington - **Music:** Matthew Herbert - **Production design:** Grant Montgomery - **Costume design:** Odile Dicks-Mireaux - **Producer:** Ed Guiney, Juliette Howell, Andrew Lowe - **Cast:** Florence Pugh as Lib Wright; Kíla Lord Cassidy as Anna O'Donnell; Tom Burke as Will Byrne; Niamh Algar as Kitty O’Donnell; Elaine Cassidy as Rosaleen O'Donnell; Ruth Bradley as Maggie Ryan; Toby Jones as Dr. McBrearty; Ciarán Hinds as Father Thaddeus - **Runtime:** 1h 48m - **Certificate (MPA):** R - **Release (the US):** 2 November 2022 - **Genres:** Drama, Mystery - **Trailer:** https://www.youtube.com/watch?v=htybz7XscIY ## Where to watch in the US - Netflix: streaming *Checked 2026-09-30.* Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Ordet* (1955), Fi1m 86: Dreyer’s farmhouse miracle, played completely straight, and all the more unnerving for it. — [Fi1m page](https://film.one/film/ordet.md) - *Saint Maud* (2019), Fi1m 82: A nurse, a patient and a faith that will not be argued with; ninety brisk minutes. — [Fi1m page](https://film.one/film/saint-maud.md) - *Black Narcissus* (1947), Fi1m 88: Nuns in the mountains, colour that burns, and belief coming apart at altitude. — [Fi1m page](https://film.one/film/black-narcissus.md) - *Godland* (2022), Fi1m 84: A Danish priest walks across Iceland and the landscape wins; patient, cold and beautiful. — [Fi1m page](https://film.one/film/godland.md) - *Gloria* (2013): Lelio before the period costumes: one woman, watched closely, without a framing device in sight. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-wonder