In the opening scene of TheWonder, the camera pans across a soundstage before it focuses on a woman in a 19th-century costume solemnly feeding herself, water dripping from the stage-constructed ceiling above her.
, the camera pans across a soundstage before it focuses on a woman in a 19th-century costume solemnly feeding herself, water dripping from the stage-constructed ceiling above her. “We are nothing without stories,” a voiceover intones, “and so we invite you to believe in this one.” As the camera zooms in, the soundstage vanishes from the periphery of the frame; you see only the woman – Lib – and her fellow passengers, all travelling to Ireland.
Lib, played by Florence Pugh as a woman possessing both a steely exterior and a bruised vulnerability, is an English nurse recently returned from the Crimean War who’s called to a remote Irish village to observe a girl, Anna, who appears to be living without having eaten for four months. Lib will watch the girl for eight-hour shifts, alternating with a nun – rationalism and faith, dual modes of attempting to understand what exactly is going on.
It’s not entirely accurate to say that the film abandons its set-up over the course of this fraught exploration, even if the camerawork doesn’t return to the explicit framing with which it begins. When Lib confronts a family member about the last thing the girl ate and is told it was “flesh of our saviour,” Lib chides her, saying, “That’s a story, I’m looking for facts,” and tucks away the notebook in which she’s been taking notes. “You also need your stories,” the woman responds.
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