#Sebastián Lelio

[in-love-with-movies]

The Wonder (2022)

[dolorygloria]

DISOBEDIENCE (dir. Sebastián Lelio, 2017)

[addictivecontradiction]

Disobedience, 2017

[mtonino]

Cinediario 2023 - maggio

The Wonder (2022) Sebastián Lelio

[sincericida]

Andrew Garfield and Daisy Edgar-Jones have been cast in Sebastián Lelio’s next film ‘VOYAGERS’ — described as an “epic, unexpected love story”. The film follows the relationship between astronomer Carl Sagan and documentary producer & director Ann Druyan. The plot:

Aaaaah so beautiful, oh my god yes, we will be seated!

Soooo... Upcoming Andrew Garfield projects:

We Live In Time (Currently Filming) directed by John Crowley

Frankenstein directed by @RealGDT in pre-production

Hot Air directed by David Leitch

Voyagers directed by Sebastian Leilo

(article)

[moviemosaics]

The Wonder

directed by Sebastián Lelio, 2022

[filmpalette]

The Wonder (2022) dir. Sebastián Lelio

[genevieveetguy]

. If I were a peach, you would be a tree. And if you were a tree, I would be its sap, flowing through your branches like blood. And if I were blood, I would live in your heart.

Gloria, Sebastián Lelio (2013)

[suimovies]

“The Wonder”

directed by Sebastián Lelio

[likeitovich]

The Wonder by Sebastián Lelio (2022)

[warningsine]

[rookie-critic]

The Wonder (2022, dir. Sebastián Lelio) - review by Rookie-Critic

The Wonder has a lot going for it; an incredibly solid story, a cast that won't quit, and a message that is timely and troubling: where is the intersect of religion and medicine when it comes to a child? If life-saving care can be given, but the parents refuse on grounds of religion, is it ethical to allow the child to die instead of saving them? Where is the line drawn between these two often-opposing forces? The Wonder asks all these questions and, in my opinion, delivers its answers on them pretty definitively by its end. For me, and I feel that Lelio conveys this, you absolutely save the child if possible. It's not a very tricky question at all from any angle. I've read articles about the film that seem to think it presents its central question as a moral quandary, that it attempts to read both sides, but I'm not sure how those people came to that conclusion. There are only a couple scenes that even remotely hint at this, and I'm not sure that's how I read them, and if it was attempting to present both sides, I'm not sure that it succeeded.

I think the strangest part of the film has to be its framing device. The film starts on a set. A modern-day, studio lot movie set, and a voice (that of actress Niamh Algar, who plays one of the characters in the film), tells us that this is a movie. She then says that the characters in the film believe their stories fully, and then invites us to do the same. The camera then pans into one of the set pieces in the room where we have actors (including Florence Pugh) and lighting and finally the camera clicks into place, completely cutting out the surrounding room so that we only see the set "in frame." From this point the film plays out like a normal drama (outside of another fourth wall break at the halfway point) until the very end, when we cut back out the film set. From what I can tell, it was meant as a way to kind of nod to the fact that the subject matter in the film has a lot of bearing on modern day events, but honestly I didn't need any of that, at all. I don't need you to keep winking at the camera, nudging the audience and saying "Right? Right? Look how timely our period piece is! Isn't it so upsetting that this is still a problem in the MODERN DAY?!" It's honestly exhausting, immersion breaking, distracting, and frankly it feels like its treating the audience like children. It almost feels like Lelio didn't have faith enough, either in his own script or the audience, to convey or understand what the film was getting at without having to spoon feed it to us with a really contrived framing device. Thankfully the film only commits to this sparingly, and it's easy enough to just look past it.

Ultimately the film's greatest strength, as she is with almost everything she's in, is Florence Pugh, who comes at this story with so much thought and empathy for the other characters in the film that you'd be awestruck by it if this wasn't what she literally does every time she acts. I was also very impressed with Kíla Lord Cassidy, the newcomer who plays the "miracle fasting girl" at the film's center. She plays off Pugh wonderfully and has cemented her place in my mind as a name to watch out for. I really did like The Wonder, it's a well-crafted, well-acted, well-meaning film that just gets a little bogged down in a few pitfalls that keep it from being really great, for me, at least. Check this one out of you've got the time.

Score: 7/10

Currently streaming on Netflix.

[watchingalotofmovies]

The Wonder

The Wonder    [trailer]

A nurse in 19th-century Ireland arrives in the Irish Midlands hired for an unusual task: to observe an 11-year-old girl, who has reportedly not eaten a morsel for four months.

Two compelling lead performances that are essential to turn this into an engaging drama since the story obviously can't be true.

Loved the cinematography, the colours, the landscape, the production design.

[forfoxessake]

[105] The Wonder (2022)

Directed by Sebastián Lelio 

 Florence Pugh is always a wonder, someone that never ceases to amaze, she is bigger than almost everything she is in. Not to say this isn't a good movie, it's not a truly remarkable one, but except for the first few minutes and the last ones (what was the director hoping to achieve with that?), it's an overall good ride even if all I can remember is Florence and that little girl.

[chashechki]