Another Look at Bugonia: Waxing Poetic about the Newest Yorgos Lanthimos Movie

As discussed in my previous post, this review is part of an ongoing series that looks back and reflects on noteworthy movies released this past year.

These short critiques are all in preparation for the already commencing awards season and the eventual star-studded Oscars. Ongoing debates over prospective winners are already taking over countless online circles, and heated competition between contending actors is picking up steady momentum as onlookers place their bets. 

Last time, I did a brief retrospective on the riveting romp that was the intoxicating and thought-provoking Sinners, which was practically universally beloved by both the general audience and film critics. Today, I have decided to cover a much more contentious piece that I still loved unabashedly and think ranks among the very best of the whole decade so far. 

This disputed movie is the black comedy flick Bugonia, directed by the always offbeat, wonderfully weird Yorgos Lanthimos, of the highly praised Poor Things and The Favourite fame. A remake of the South Korean film Save the Green Planet! by Jang Joon-kwon, this new rendition is full of his characteristic absurdist perspective and fragrantly displays blatant human taboos in a humorous light.

For reference, I am not an expert on his work by any means and have only seen The Killing of a Scared Deer beforehand. Admittedly, I was not a fan of this piece that personally did not mesh or sit with me, despite recognizing what others could appreciate about its haunting imagery and lingering performances. 

Thus, I was a bit surprised by how honestly gripped and constantly invested I was throughout this thrilling and suspenseful adventure. For the first time, I connected and matched with his distinct style in an eye-opening way that reminds one why they go to the theater in the first place, to be swept up in something completely unreal and forget about the rest of the outside world for a little while. 

In short, the basic premise of Bugonia is rather straightforward on paper but still ever relevant, considering the modern political climate and recurring antics of rich tech billionaires. A deranged conspiracy theorist and his manipulated cousin kidnap a powerful CEO under the sincere confidence that she is an invading alien sent to annihilate planet Earth. 

Having supposedly previously destroyed the honeybee population and partaking in some unethical drug trials, what follows is an edge-of-your-seat narrative continually going back and forth on whether the mysterious Michelle Fuller is truly one of us or not. 

To be frank, this absorbing picture would not work at all if Emma Stone were not undeniably one of the most talented actors of her generation, giving one of my favorite performances of this last year. 

Her line delivery is simply spectacular and uproarious, superbly embodying the girlboss feminism archetype prevalent on social media and in corporate spaces. Wielding her mighty Stanley Cup by her side and having a forced positivity when making appearances for the unquestioning public, she has this underlying cynical and hurried tone in her calculated speech patterns, all while upholding oppressive capitalistic systems and adhering to omnipresent motives. 

The brilliant things she does with her face and particularly her mouth here, perpetually pointing her chin forward to assert any sense of controlling dominance upon being taken and pursuing her lips in a nonstop mimicry of human mannerisms, are just enrapturing to watch and irreplicable in practice. 

Without her persistently making one second-guess her potential otherworldly nature or consider her every possibly revealing habit, this overarching question would quickly break down and would be a much lesser piece of art without her captivating character. Her continued collaborations with Lanthimos make complete sense as the two evidently understand and meet each other on a harmonious creative level. 

In turn, the understated but poignant portrayal of the helpful Don, played by newcomer Aidan Delbis, is a beyond memorable role I am sad to see go overlooked and painfully underrecognized in repeated conversations this awards season. With his earnest dialogue and the thoughtful way he carries himself, in a perfect world, he would be nominated in the best supporting category.

Having an autistic actor play a neurodivergent person is also great to see, instead of another performer who is not on the spectrum inauthentically and usually offensively attempting to convey what this condition is like for many. 

For me, with his genuine passion for space and obvious care for his falling apart family, despite being obviously taken advantage of and having his erroneous worldview shaped by Teddy (his ill-intentioned cousin), Don is necessary as the emotional linchpin of the pessimistic plot.

His very presence is the only true source of humanity among this contrasting conflict between a money-driven executive and the deluded so-called freethinker, serving as a touching reminder of innocent or underprivileged people harmed by oppressive systems and lured into toxic online communities. 

In fact, what I believe a lot of the discussions and coverage of this movie neglects to mention is how truly heartfelt the entire story is at its core. Despite its initial clinical and detached approach, these are the unforgettable characters that moved me the most in recent memory and have stuck with me since my first viewing. 

Keeping in mind I am never one to cry or be physically upset over fiction, Bugonia literally had me hanging onto my seat and bawling for two hours afterwards, eliciting such a strong reaction with its unfair world and bleak outlook. 

Lanthimos plainly wanted to make a compelling statement about modernity and how divided individuals interact decisively with surrounding society (whether that be outwardly rejecting governing figures, exploiting the common man, or being actively abused by those with guiding agendas). Even though juggling several topics at once, these complex notions are all executed flawlessly.

With an affecting score composed by Jerskin Fendrix that encapsulates the desolate but buzzing atmosphere, simultaneously alive with energy and already feeling like a walking corpse, in addition to the stellar cinematography done by Robbie Ryan that is brightly colorful yet emanates emptiness, I cannot recommend Bugonia enough and could rave about its deliberate mastery endlessly. 

While its depressing and audacious presentation is definitely not for everyone, its proven applicability in a contentious and even dangerous climate where young men become enticed by red-pill ideology and massive corporations mistreat their underpaid employees without any intervening punishment should be worthy of checking out. 

Bugonia is available to rent at home or can be currently streamed on Peacock.

Grade: A