Reviews
Bugonia
It says a lot about Yorgos Lanthimos’ filmography that Bugonia is being called his most accessible movie, especially considering just how truly bonkers it is. In his latest outing, Lanthimos once again reunites with Emma Stone, continuing the creative partnership that reached its peak with the impeccable Poor Things. This time there is a noticeable weight of expectation with both cinephiles and general audiences now tuned in to the name Lanthimos, Bugonia arrives under the hopeful gaze of a crowd praying for another success.
For Bugonia, Lanthimos teams up with writer Will Tracy (The Menu) to reimagine the 2003 South Korean cult classic Save the Green Planet!. The story follows Teddy (Jesse Plemons), a wild-eyed conspiracy theorist and beekeeper living in a rundown farmhouse with his cousin Don (Aidan Delbis). Teddy is utterly convinced that pharmaceutical CEO Michelle Fuller (Emma Stone) is an alien sent from her mothership to destroy humanity. With Don’s reluctant help, he hatches a plan to kidnap Fuller in the hope of contacting her alien leader and stopping their sinister mission before it is too late.
What unfolds is a hostage-style thriller packed with sharp, cutting and on-the-nose comedy that is bound to have audiences in stitches thanks to its rapid wit. There is also a great deal of fun in watching two complete amateurs attempt to pull off a hostage situation while being entirely consumed by the conspiracy theories that dominate their lives, particularly Teddy’s. Bugonia arrives at a strikingly relevant moment, when more and more people are being shaped by their own online-fuelled beliefs. This adds an unexpected sense of realism to the film, even though its premise remains completely preposterous to any rational mind.
Bugonia does an excellent job of establishing why Teddy is the way he is. His mother (Alicia Silverstone) lies in a coma after taking part in a botched drug trial run by Fuller’s company, something Teddy believes was orchestrated by the aliens themselves. We are also introduced to Casey (Stavros Halkias), the local sheriff who, in an attempted comedic turn, repeatedly alludes to having possibly assaulted Teddy when he was his childhood babysitter. That particular thread did not land for me and instead felt like an uncomfortable mockery of victims of that nature. However, it does help explain Teddy’s isolation from society and his obsessive retreat into the internet, where he spends all his time researching increasingly unhinged theories.
For much of its runtime, Bugonia features a small cast and limited locations. This kind of setup can often feel repetitive, but to the film’s credit, it never becomes dull and remains tense throughout. Every scene is elevated by a magnificent score that swells during the heated exchanges and softens into the background during the darker, quieter moments, adding real depth to the experience. For those familiar with Save the Green Planet!, the final half hour will not come as a shock. For everyone else, it delivers some of the wildest and most audacious scenes to reach the screen in recent years. In true Yorgos fashion, it is these wonderfully unhinged moments that linger in the mind long after the credits have finished.
A film that focuses so heavily on a small cast relies entirely on the strength of its performances, and this is where Bugonia shines brightest. Much of the attention will naturally fall on Emma Stone, who is once again brilliant as a self-absorbed CEO. It almost comes a little too naturally at times. She delivers some of the film’s sharpest comedic lines and commands every scene she is in, although her performance does not quite reach the extraordinary heights of Poor Things.
Jesse Plemons, however, delivers what could easily be considered a career-best performance. He completely transforms into a conspiracy-fuelled recluse, capturing every twitch and anxiety with unnerving authenticity. At times his portrayal feels almost uncomfortably real, which is meant as the highest compliment. A special mention must also go to newcomer Aidan Delbis, who brings a genuine sense of vulnerability and warmth to the story. His performance adds emotional depth, particularly in the latter half. It is clear he has an abundance of talent, and it will be exciting to see where he goes from here.
While I do not think Bugonia reaches the heights of Yorgos Lanthimos’ previous projects, its central idea that the planet might be better off without humankind is perhaps one of his most damning and accurate statements to date. As with all of his work, it will not appeal to everyone, but for those willing to meet it on its own wavelength, there is much to admire. Expect some of the finest performances of the year and a thought-provoking, almost apocalyptic story that will keep your mind turning long after the credits have finished.
