Bugonia: Yorgos Lanthimos’ Crowning Achievement and Sharpest Film to Date

by Colin Rivera

Illustration by Adi Horodniceanu

Greek director Yorgos Lanthimos has never been known for making easily digestible films. From the odd, surrealist humor of The Lobster, to the off-kilter, uncomfortable dialogue in The Killing of a Sacred Deer, to the perverse moral universe of Poor Things, Lanthimos’ films always leave viewers feeling sick to their stomach. In Bugonia, he takes all of his signature directorial quirks and fuses them into what is possibly the best film of his career. 

The film is a loose adaptation of the Korean film “Save the Green Planet!” from 2003. While the two movies share similar narrative beats, Lanthimos adds his own unique spin on the story to make the film stand on its own. Bugonia follows disgruntled conspiracy theorist Teddy (Jesse Plemons), who, along with his naive cousin Don (Aidan Delbis), kidnaps an assertive CEO named Michelle (Emma Stone). Convinced she is an alien intent on destroying humanity, Teddy and Don hold her captive in their house while attempting to make her confess her true identity.

What might seem like a simple premise is elevated by Lanthimos’ wholly intentional style. The film is extremely well directed, and makes wonderful use of its primary location, as is demonstrated in the beautiful cinematography, suffocating shot compositions, and elaborate blocking. The original score, composed by Jerskin Fendrix, also plays a crucial role in developing the intense, haunting atmosphere. Through the roaring brass instrumentation that is blasted during the film’s bleakest moments, Fendrix’s soundtrack will truly make you feel like the world is ending.

As per usual with a Yorgos Lanthimos film, one of the essential components that leads to its success is the clever balancing of tone. Lanthimos has mastered the art of finding appropriate times to inject elements of black comedy into his films, and it’s no different in Bugonia. The kidnapping scene, which one would expect to be thrilling and dramatic, plays out like a slapstick routine, as Teddy and Don clumsily attempt to capture Michelle despite the fact that they are both clearly inexperienced. By giving the film occasional moments of levity, Lanthimos is able to keep the audience engaged without ever compromising the story. 

The three central performances are all extraordinary, and each one brings something different to the table. Teddy, the deeply flawed protagonist, manages to be intimidating while remaining sympathetic, mostly due to Jesse Plemons’ multifaceted portrayal of this complex character. Emma Stone, in contrast, brilliantly plays this charismatic, manipulative billionaire, and the two actors bounce off each other effortlessly. However, what really ties the film together is the character of Don, who is inarguably the heart of the story. The autistic 19 year old actor Aidan Delbis brings an incredible amount of life to his performance, and he perfectly captures the chaos and confusion that comes with being neurodivergent in 2025. 

Many films released this year, such as One Battle After Another and Eddington, have tried to tackle what it feels like to live in America in the 2020s. While the aforementioned examples are mostly grounded in reality, Bugonia's take on this wild decade is crazy and absurdist. Some viewers might be turned off by the exaggerated characters and ludicrous plot developments, but what better way is there to capture the reality of the world in which we currently live? The most admirable aspect of the film is that it feels timely while also working as a self-contained story. 

While the film has plenty of disturbing sections in the first 90 minutes of the runtime, none of them compare to the demented turn Bugonia takes in its third act. Jaw-dropping twists and shocking revelations dominate the last 30 minutes, and by the time the movie reaches its climax, you will have no idea where it’s going. 

Filled with thematic complexity and rich symbolism, Bugonia will be sure to leave any viewer contemplating its meaning long after they leave the theater. The film forces one to engage with the complicated questions it’s raising, and it refuses to hold your hand. The central inquiry the movie poses is whether or not humanity deserves a second chance, and it does so in a way that lets the audience come to their own conclusions. 

Bugonia’s final few minutes evoke heartbreak, laughter, and awe all at once. From the bafflingly detailed production design to the ridiculous costumes, the ending reaches for the stars and succeeds with flying colors. With the closing montage that is as morbidly funny as it is depressing, it becomes clear that Lanthimos is firing on all cylinders. The film’s conclusion provides no easy answers, instead leaving us with an inescapable feeling of dread. Though it’s certain to divide audiences, Bugonia admirably goes out swinging. 

Yorgos Lanthimos has crafted a work of art that is truly special. In a time when the majority of films are constrained by studio’s demands, and directors’ visions are all too often suppressed, it is immensely refreshing to see a genuine auteur create the kinds of films that he wants. His newest film can only be described as uncompromising, unflinching, and unprecedented. All of the elements of filmmaking–acting, directing, writing, cinematography, music–come together to form a cinematic masterpiece that will hopefully be recognized as one of the greatest films of the decade.