Yorgos Lanthimos is back, and this time, he’s stirring the pot with Bugonia, a film that’s bound to divide audiences. But here’s where it gets controversial: Is this sci-fi-infused psychological drama a bold reimagining or a misstep for the acclaimed director? Let’s dive in.
PLOT: Meet Teddy (Jesse Plemons), a conspiracy-driven beekeeper who’s dead set on the idea that Michelle (Emma Stone), the CEO of a pharmaceutical giant, is an alien plotting Earth’s destruction. Sounds wild, right? And this is the part most people miss—it’s actually a remake of the Korean cult classic Save the Green Planet!, but with a Lanthimos twist.
REVIEW: Yorgos Lanthimos is nothing if not prolific. Fresh off the heels of Poor Things, he’s already dropped another film, Kinds of Kindness, and now Bugonia. His collaboration with Emma Stone continues to shine, giving her yet another meaty role to tackle. But while Stone’s performance is undeniably captivating, the film itself struggles to find its footing. Here’s the kicker: Lanthimos attempts to blend black comedy, pathos, and sci-fi satire, but the result feels uneven, particularly when compared to the original Korean film.
Part of the issue lies in Jesse Plemons’ portrayal of Teddy. While he’s meant to be unhinged, his character is so relentlessly unpleasant that it’s hard to connect with him. In the original, the protagonist had moments of vulnerability that humanized him, but here, Teddy feels more like a caricature of obsession. Plemons delivers a committed performance, but without an emotional anchor, the audience is left adrift. The exception? Aidan Delbis, who plays Teddy’s cousin Don, brings a much-needed layer of authenticity to the film.
Emma Stone, however, is a force to be reckoned with. Her Michelle is a monstrous yet mesmerizing figure, a self-absorbed CEO who’s equal parts hilarious and terrifying. Whether she’s lip-syncing to Chappell Roan or delivering passive-aggressive workplace jabs, Stone commands every scene. Her decision to shave her head for the role underscores her dedication to Lanthimos’s vision, even if the film itself doesn’t always live up to it.
And this is where it gets really interesting: Lanthimos makes a bold choice by gender-swapping the CEO and framing Teddy as a disturbingly incel-adjacent figure. This twist adds a layer of provocation missing from the original, but it raises questions. Is this enough to justify the remake? Or does it feel like a stretch too far?
Technically, Bugonia is a visual and auditory feast. Cinematographer Robbie Ryan’s use of the 1.33:1 aspect ratio gives the film an arthouse elegance, while Jerskin Fendrix’s soundtrack is both haunting and evocative. Yet, for all its craftsmanship, the film remains a challenging watch. Lanthimos’s work has never been easy viewing, but Bugonia feels particularly polarizing.
In the end, I admire the film’s ambition and the cast’s commitment, but I can’t shake the feeling that it falls short of its potential. Here’s the question I’m left with: Is Bugonia a daring experiment worth celebrating, or a missed opportunity? Let me know what you think in the comments—I’m genuinely curious to hear your take.
