Bugonia (2025)

“Bugonia” stars Emma Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, and Alicia Silverstone.  Released on October 24, 2025, the film follows two conspiracists as they kidnap a high-powered CEO.

The film was directed by Yorgos Lanthimos, who also directed films such as “My Best Friend”, “The Lobster”, “The Favourite”, “Poor Things”, and “Kinds of Kindness”.  It is a remake of the 2003 South Korean film, “Save the Green Planet!”, written and directed by Jan Joon-hwan.  It’s no conspiracy that we are often surrounded by widespread theories shaped by people’s beliefs.  They can lead to either shocking revelations that surpass our understanding or to conclusions as pointless as an unsharpened pencil.  Of course, the journey in uncovering these theories can be just as wild as the destination, especially when theorists assert that someone is not from this world.  This encapsulates the latest absurdist comedy from the weirdly creative mind of Yorgos Lanthimos, which brings a South Korean black comedy to American audiences.  Never heard of it?  I hadn’t either until I did a bit of digging.  Given the film’s concept, Lanthimos seemed an ideal choice to reinterpret the premise through his distinctive vision.  But was this conspiracy theory truly worth exploring?  Let’s find out. 

The story follows Michelle Fuller (Stone), the CEO of an upscale pharmaceutical company called Auxolith.  During her routine, Michelle’s life takes a surprising turn when she is abducted by Teddy Gatz (Plemons), a beekeeper obsessed with conspiracy theories, and his neurodivergent cousin, Don (Delbis).  They imprison her in the basement of their shared home and shave her hair completely.  Teddy and Don believe that Michelle is part of an alien race known as the “Andromedans”, who have infiltrated Earth, and they plan to use her as leverage to save the planet.  As the impending lunar eclipse approaches, Michelle attempts to find a way to escape the conspiracy-obsessed captors while they desperately try to extract a confession of the “truth” from her.

Following my experiences with “The Favourite” and “Poor Things”, I found myself immediately captivated by Lanthimos’s estranged visual style.  He’s one of the filmmakers who is unafraid to delve into the surreal absurdity of his concepts, particularly those that offer layered commentary.  While I enjoyed “The Favourite” for its arthouse surrealism, it was “Poor Things” that heightened my admiration for Lanthimos’s audacious vision.  Admittedly, its risqué black comedy and sexual content may not appeal to everybody, but the film’s technical surrealism and unconventional direction highlight its steampunk aesthetics, cast, and themes, making it my personal favorite in the filmmaker’s filmography.  Yes, you read that correctly: a film centered on a resurrected corpse engaging in constant sexual encounters is my top choice among Lanthimos’s films.  Who would’ve thought?  Unfortunately, I have yet to see “Kinds of Kindness”, so I can’t share how I feel about it.  However, I’ve heard it doesn’t quite measure up to Lanthimos’s earlier works, so perhaps I’ve dodged a bullet there.  

This brings us to the director’s latest absurdist comedy, “Bugonia”, which delivers the bizarre elements we’ve come to expect from his previous films.  The trailers featuring a bald Emma Stone and a pair of alien-obsessed kidnappers are intriguing enough for me to investigate this eccentric theory for myself.  Having witnessed this truth unfold, do I think it’s worth the investigation?  Yes, I do.  “Bugonia” undoubtedly represents Yorgos Lanthimos at his best, blending his absurdly creative vision with a grounded, often metaphorical reflection on contemporary society.  The film explores the dynamics of society's higher-ups, particularly through the character of Michelle, and the perceived exploitation of the lower class and patients, with the latter fueling Teddy’s determination to unveil the “truth”.  The movie also delves into Lanthimos’s perspective on misanthropy through the characters’ insane actions, prompting viewers to question whether we, as a society, are truly “worthy”.  It may not reach the surreal heights of “Poor Things”, and its comedic elements take a back seat to a more somber narrative.  Nonetheless, it remains a well-structured and consistently engaging experience that buzzes around its cinematic flower like a bee.

Those familiar with Lanthimos’s previous works will immediately recognize his experimental and quirky vision.  Even when a film is rooted in reality, he has a knack for twisting it into an offbeat and bizarrely demented shell of itself.  It’s unorthodox, yet you can’t help but keep your eyes glued to the screen, eager to discover what other weird element he has in store.  To no one’s surprise, “Bugonia” exemplifies how Lanthimos’s unique cinematic craft coexists seamlessly with his distinctively creative mindset.  In addition to his signature style, Lanthimos also knows how to make the film’s seemingly repetitive conversations between characters compelling and tense.  While the movie may seem long at first, clocking in at almost two hours, Lanthimos kept the pacing of these scenes smooth and steady.  There were a couple of moments where the narrative nearly lost me.  Fortunately, akin to what Teddy did to Michelle, the director kept me trapped in this scenario until he hit me with a dour yet respectfully restrained finale, and I mean that in a good way.  The film’s visual appeal is enhanced by Lanthimos’s trusted cinematographer, Robbie Ryan, who utilized 8-perf 35mm film to capture a traditional 1980s aesthetic, enriching both the dramatic scenes and the film’s conclusion.

The screenplay, penned by Will Tracy, provides an intriguing theory layered with metaphorical themes and robust dialogue.  Tracy, a former editor-in-chief of The Onion, has expertise not just in black comedy but also in satirical examinations of humanity and upper-class life, as evident in his previous works such as “The Menu” and “Succession”.  If you’re familiar with any of them, you’ll notice the resemblance in “Bugonia” regarding his approach.  The script delivered a few chuckle-worthy moments, but it became, somehow, less of a comedy and more of a tragedy as the film progressed.  It’s not a movie you would go to with popcorn and soda on the side and have a fun time.  It’s a film that scrutinizes humanity’s madness and may make us feel bad about ourselves, at least from my perspective.  Sure, seeing a bald Emma Stone is quite humorous out of context, but once you understand the clear picture, you might end up reconsidering your impulse to mock her haircut.  Due to its tone, some comedic moments may fall flat despite their inherent wit.  As for its ending, it’s undoubtedly grim, but it was also something I saw coming a mile away, which somewhat diminished the storytelling potential.  However, this was offset by the film’s impressive 1980s-inspired production designs.  Additionally, the film’s score was miraculously composed by Jerskin Fendrix, integrating vigorous orchestral harmonies into the film’s intense atmosphere.

Of course, Lanthimos isn’t the only reason for the film’s engaging dialogue-driven sequences, as its main leads cooperated effectively to ensure their performances deserve an audience like me.  Emma Stone and Jesse Plemons have previously collaborated with Lanthimos on their previous films, including “Kinds of Kindness”.  Given their experiences together, it’s inevitable that their latest collaboration will be nothing but child’s play for them, and my god, did they play me well through their effortless yet captivating talents.  Emma Stone delivered another fantastic performance that could potentially earn her another award nomination.  Her portrayal of Michelle displays a calm and well-meaning demeanor that’s convincing enough to be human, avoiding over-reliance on familiar damsel-in-distress tropes to elevate her performance.  Jesse Plemons also excelled in his performance, capturing Teddy’s restrained, subtle emotions, driven by his personal vendetta against the powerful CEO.  While it’s challenging for me to determine if it’s his best performance, it undoubtedly showcases Plemons’s impressive talent and presence in the film industry.  Aidan Delbis also contributes effectively in his role of Don, Teddy’s neurodivergent cousin, who assists in his mission to “save humanity”.

Overall, “Bugonia” is an eccentric and strikingly absurd conspiracy theory that underscores Yorgos Lanthimos’s signature oddity and its remarkable acting showcase.  It leans more towards absurdist tragedy than black comedy, with a rather predictable yet grim conclusion.  Fortunately, its dialogue-driven moments leading up to its bleak finale convinced me to appreciate the film’s distinctive craftsmanship and metaphorical themes, reminiscent of the director’s earlier works.  While it may not surpass “Poor Things” as my favorite film from the filmmaker in terms of absurdity and imaginative strangeness, the film is certainly a theory worth setting out to prove.  Emma Stone and Jesse Plemons continue to shine on screen through their engaging performances, while Lanthimos’s directorial style radiates with an air of anomaly and tension.  Will Tracy’s screenplay effectively reflects on modern society, and Jerskin Fendrix’s score complements the movie’s eerily weird atmosphere.  This is undoubtedly Yorgos Lanthimos at his finest, which should leave his fans impressed by his eccentric cinematic mind.  ​

B+