Bugonia: A Dark Comedy Exploring Misinformation and Conspiracy Paranoia

In Yorgos Lanthimos’ latest dark comedy “Bugonia,” paranoia and conspiracy theories take center stage as the acclaimed director tackles our misinformation-saturated world through his signature unsettling lens.

The film, currently screening at Regal Edwards theaters in Santa Maria and Arroyo Grande, follows conspiracy theorist Teddy (Jesse Plemons) and his intellectually disabled cousin Don (Aidan Delbis) as they kidnap pharmaceutical CEO Michelle Fuller (Emma Stone). Teddy is convinced Michelle is an alien bent on destroying Earth, and he aims to force her to confess and arrange negotiations with her emperor on the mothership.

Lanthimos, known for boundary-pushing films like “The Lobster,” “The Favourite,” and “Poor Things,” has loosely adapted South Korean writer Jang Joon-hwan’s screenplay for “Save the Green Planet!” (2003). The R-rated film marks Stone’s fourth collaboration with Lanthimos, showcasing her willingness to follow the director into increasingly challenging territory.

Plemons delivers a nuanced performance that captures the complexity of a character whose paranoid delusions feel eerily relevant in today’s fractured social landscape. His portrayal of Teddy manages to balance the character’s sinister actions with an unassuming exterior that makes his spiral into extremism all the more disturbing.

In his film debut, 19-year-old Aidan Delbis, who identifies as autistic, gives a standout performance as Don. His character’s vulnerability and complete dependence on Teddy create a poignant dynamic that adds emotional depth to the story. As Don follows along with Teddy’s kidnapping plan despite his uncertainties, viewers are confronted with the manipulation and exploitation that often accompany conspiracy beliefs.

Stone’s portrayal of Michelle Fuller is equally compelling. The pharmaceutical executive is presented as brittle and insincere—a corporate figurehead whose polished exterior conceals manipulative intentions. Much of the film revolves around the psychological battle between Michelle and Teddy, with the latter blaming her company for his mother Sandy’s (Alicia Silverstone) drug-induced comatose state.

“Bugonia” uses Teddy’s amateur beekeeping on his family’s dilapidated property as both setting and metaphor. The bees become emblematic of the organized chaos Teddy sees in the world—and his desperate attempts to control it. This imagery runs parallel to the film’s exploration of ecological anxiety, corporate accountability, and the human tendency to seek simple explanations for complex problems.

Lanthimos has crafted what critics describe as a “cultural black comedy” that taps into contemporary fears about environmental collapse, corporate malfeasance, and technological overreach. While the premise might seem outlandish, it reflects genuine anxieties permeating society today.

The film’s narrative structure remains deliberately unpredictable, with reviewers noting that its surprising conclusion should remain unspoiled for viewers. This unpredictability aligns with Lanthimos’ established reputation for creating unconventional cinematic experiences that challenge audience expectations.

At 118 minutes, “Bugonia” doesn’t overstay its welcome but provides enough time to fully develop its characters and thematic concerns. The film’s pacing allows viewers to become immersed in its increasingly bizarre scenario while maintaining narrative tension throughout.

For audiences willing to embrace discomfort, “Bugonia” offers a thought-provoking examination of how conspiracy thinking can warp perception and drive people to extremes. The film’s unflinching portrayal of paranoia leaves a lasting impression that extends beyond the theater experience.

Critics have praised the performances as “award-worthy” while acknowledging that the film’s unsettling nature may not appeal to all viewers. However, for those familiar with Lanthimos’ previous work or interested in challenging, unconventional storytelling, “Bugonia” delivers a compelling exploration of contemporary anxieties wrapped in the director’s distinctive visual style and narrative approach.