Don’t worry, you don’t need to shave your head to see Emma Stone and Jesse Plemons in “Bugonia” — but doing so might help you understand the film’s themes. Following previous explorations of power dynamics in “Poor Things” and “Kinds of Kindness,” director Yorgos Lanthimos presents sharp commentary in arguably his most accessible movie to date. One of the year’s finest films, there’s no room for ambiguity in this politically motivated dark comedy.
A loose remake of the 2003 South Korean film “Save the Green Planet!,” “Bugonia” follows incel conspiracist Teddy (Plemons) and his neurodivergent cousin Don (Aidan Delbis) as they kidnap Big Pharma CEO Michelle Fuller (Stone), convinced she’s an alien on a mission to destroy the Earth. Compared to Lanthimos’ previous work, in which plots unfold with an unconventional vagueness, “Bugonia” punches straight into the story. We open as Teddy describes his affinity for bees, creatures that bring inherent goodness to the capitalistic hellscape he lives in. The term “bugonia” refers to the ancient belief that bees can be regenerated from cow carcasses, showing how new life can rise from failed systems.
“Bugonia” employs impeccably sharp satirical humor in a modern setting. Michelle is the epitome of a girlboss: She wakes up every morning at 4:30 a.m. to do yoga and put on LED face masks before filming diversity, equity and inclusion training videos beside her framed photo with Michelle Obama. Teddy spends his days in isolation, perusing anti-government rhetoric when he isn’t gaming or chemically castrating himself to avoid female manipulation.
These seemingly on-the-nose characterizations are thanks to the film’s stellar mix of comedy and commentary. Teddy’s role could easily be reduced to a hysterical Redditor, but the movie thoughtfully explores how figures of authority have consistently abandoned or abused him. His anger is rooted in an understandable sentiment: Corporations have disproportionate power that destroys the environment. Even in his malicious actions towards Michelle, Lanthimos makes it clear that Teddy was never the villain. Instead, he creates a broader discussion about how submission to higher institutions removes individual agency.
Though most of “Bugonia” takes place in one location, Will Tracy’s hilariously fervent screenplay eradicates any chance for boredom. Michelle attempts to “engage in a dialogue” with Teddy to request her freedom, as if she can only communicate through corporate jargon. Each line shines with relevance considering Michelle’s position as a pharmaceutical executive in the wake of the UnitedHealthcare CEO’s murder in 2024. Luckily, the film never feels like a cheap jab towards woke culture or a superficial attempt to show ideological divide. The writing grounds its satire in anxious panic about climate change and corporate greed, and the institutions that profit from both. The absurdity and weighted parallels speak for themselves.
“Bugonia” reaps the benefits of having several frequent Lanthimos collaborators at the top of their craft. “Poor Things” cinematographer Robbie Ryan captures stunning visuals, especially in black-and-white flashback sequences that explore the root of Teddy’s fascination with Michelle. Composer Jerskin Fendrix delivers his most grandiose score to date, giving an auditory jolt of energy to the story. Stone and Plemons are a joy to watch go toe-to-toe, making the two-hour runtime fly by. Their terrific performances give hope that the pair will continue to collaborate with Lanthimos for years to come. The only newcomer is actor Delbis, whose soft portrayal of the exploited cousin undoubtedly remains the story’s heart — Don is the only character you’re truly rooting for.
Even with its nihilistic vision, “Bugonia” treads a fine line between justifying apocalyptic panic and condemning the isolation feeding our fragility. Still, the unexpected final moment of the film cements Lanthimos’ existential view of humanity. And to Teddy’s wishes, the bees live on.
Contact Amelia Knust at [email protected].