Who needs horror to explore the horrors of humanity? “Bugonia” could easily have been such a film. But in the hands of a critically beloved director, we experience a wildly enjoyable mystery drama with a lot to say about the state of, well, everything.
Teddy (Jesse Plemons) isn’t OK. He spews conspiracies, fancies himself liberated from left and right ideologies and remains laser focused on one objective: capture an alien. Specifically, he believes big pharma CEO Michelle Fuller (Emma Stone) is a little green woman who can take him to her leader.
Now, Ms. Fuller might be an out-of-touch rich person, based on her recent decision to permit employees more regular hours with too many exceptions to count as useful (like a job with unlimited vacation days that dissuades employees from actually using that many). But is she really from a galaxy far, far away? Teddy thinks so. Perhaps not for his co-conspirator, Don (Aidan Delbis), who helps with the kidnapping and watches over her during a series of exchanges that lead us closer to the truth about Teddy’s motivations and Michelle’s unsavory business practices.
For director Yorgos Lanthimos (“The Favourite,” “Poor Things”), “Bugonia” is his most accessible film yet. Sure, it’s zany, much like the Greek auteur’s other films, but populated by characters with more human characteristics. Somehow debating if something is an alien or not feels more relatable than the many dead pan lines in most of his other works, like 2015’s “The Lobster.”
Don’t expect stylistic dialogue between people that feels more suited for the stage. Stone and Plemons enjoy more human interactions, which contrasts their characters’ dueling perspectives: conspiracy theory vs. corporate America. Plemons shines as a respectful madman.
Meanwhile, Stone’s Michelle channels an HR rep, employing all the inauthentic, robotic talking points that might make anyone go mad. While the film features a few other performances, it’s all on Plemons and Stone. Their on-screen chemistry as foes is quite remarkable.
Entirely on brand, however, Lanthimos continues to depict stories with increasingly more violence. He never shies away from unsettling domestic abuse, which also occurs a couple of times here, but he also embraces more visceral gore. So be warned.
This may not be a horror film – though there’s an argument for that label, similar to his “The Killing of a Sacred Deer” – but some characters might still end up covered in blood. But unlike traditional horror, don’t expect chase sequences or other standard thrills.
Special props belong to screenwriter Will Tracy, who co-wrote 2022’s “The Menu.” Here, he expertly adapts the original 2003 South Korean film “Save the Green Planet!” When Teddy and Michelle debate each other – each immovable in their positions and tactics – you can hear Tracy’s “eat the rich” sensibility on display, along with some more abstract notes as well.
Put this one in the same category as “10 Cloverfield Lane” or “Safety Not Guaranteed.” You don’t know what kind of film you’re in for until it’s over. So watch closely and try to figure it all out, though you probably won’t.
Certainly, critics will bemoan “Bugonia” for its lack of focus on any one thing. It addresses big pharma, capitalism, online conspiracies, abuse and mental illness without providing a clear position. This isn’t any both-sideism nonsense. It just places all such things in a broader context.
And sometimes the bigger picture is just sad. Plenty of films out there try to find a glimmer of hope to hold on to. That isn’t always necessary. Sometimes we need a harsh reminder that things suck. “Bugonia” effectively does that, albeit in a fun, witty and compelling way that feels so satisfying to the end.
Meanwhile, Stone’s Michelle channels an HR rep, employing all the inauthentic, robotic talking points that might make anyone go mad. While the film features a few other performances, it’s all on Plemons and Stone. Their on-screen chemistry as foes is quite remarkable.
Entirely on brand, however, Lanthimos continues to depict stories with increasingly more violence. He never shies away from unsettling domestic abuse, which also occurs a couple of times here, but he also embraces more visceral gore. So be warned.
This may not be a horror film – though there’s an argument for that label, similar to his “The Killing of a Sacred Deer” – but some characters might still end up covered in blood. But unlike traditional horror, don’t expect chase sequences or other standard thrills.
Special props belong to screenwriter Will Tracy, who co-wrote 2022’s “The Menu.” Here, he expertly adapts the original 2003 South Korean film “Save the Green Planet!” When Teddy and Michelle debate each other – each immovable in their positions and tactics – you can hear Tracy’s “eat the rich” sensibility on display, along with some more abstract notes as well.
Put this one in the same category as “10 Cloverfield Lane” or “Safety Not Guaranteed.” You don’t know what kind of film you’re in for until it’s over. So watch closely and try to figure it all out, though you probably won’t.
Certainly, critics will bemoan “Bugonia” for its lack of focus on any one thing. It addresses big pharma, capitalism, online conspiracies, abuse and mental illness without providing a clear position. This isn’t any both-sideism nonsense. It just places all such things in a broader context.
And sometimes the bigger picture is just sad. Plenty of films out there try to find a glimmer of hope to hold on to. That isn’t always necessary. Sometimes we need a harsh reminder that things suck. “Bugonia” effectively does that, albeit in a fun, witty and compelling way that feels so satisfying to the end.
Photo credit: Focus Features
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