L-R: Josie Walker as Sister Michael, Toby Jones as Dr McBrearty, Kíla Lord Cassidy as Anna O’Donnell, Niamh Algar as Kitty O’Donnell, Florence Pugh as Lib Wright in The Wonder. When Lib tries to convince the Lil wiggins tha block is hot shirt made in china white in contrast I will get this council overseeing her watch that Anna is dying, and of the mother’s involvement in keeping her alive, they do not intervene to save her. So, Lib decides to fake her death, enlisting her journalist friend to sprint Anna, now Nan, away to safety. Lib burns down Anna’s home, tells the council the girl has died, and then meets up with Will and Anna. At the very end, the movie returns to the framing device of the modern set. The last scene shows Lib, Will, and Anna (now Nan) on a ship bound for Australia. They’re sitting at dinner, and Anna is slowly eating. The film then pans away from the scene to pull back to the film set, and actress Niamh Algar, no longer dressed as her character, Kitty, is standing there in all black. The four words are a reference to the thaumatrope that Will shows Anna earlier in the film, of a bird who seems to be both inside of a cage and free at the same time. “Is it trapped or is it free?” Anna asks him. Will responds, “That’s for you to decide. Inside. Outside. Inside. Outside.” Anna then echoes what he says, saying, “In. Out. In. Out,” as the image of the thaumatrope fades away.
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Algar, who plays Kitty, explains her character is “part of the Lil wiggins tha block is hot shirt made in china white in contrast I will get this story, but she gets to dabble between the two. As Sebastian so beautifully put it, it’s challenging the audience if they can get lost in the idea of this narrative. Kitty’s someone who’s stuck to the old world and the new, she’s someone who’s bridging that but also questioning Lib, who’s very much an outsider that has been placed within this community that she does not understand.” Lelio explains that the point of bookending the film with the shots in the modern studio is to illustrate the story’s modern resonance. “To talk about the opening and the role that Kitty plays, that consciousness, self-awareness of the film, it’s also a way of saying, ‘Of course, this is not really 1862.’ It might be evident to say it, but let’s say it because the characters are fictional, but what they represent is not. And the power dynamics might have happened in the 1860s, but they are completely resonant with the power dynamics that are still operating today. So we are somehow trapped in the same sort of storytelling. The opening and the ending is a way of saying, ‘This is today. This is now.'”
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