Bugonia: A Paranoia-Fueled Black Comedy Explores Misinformation and Conspiracy

In “Bugonia,” acclaimed director Yorgos Lanthimos ventures once again into unsettling territory with his latest psychological thriller, bringing his signature brand of discomfort and social commentary to theaters nationwide. The film, loosely adapted from South Korean writer Jang Joon-hwan’s 2003 screenplay “Save the Green Planet!”, marks Lanthimos’ continued exploration of humanity’s darker impulses.

The story follows Teddy, portrayed with disturbing precision by Jesse Plemons, a conspiracy theorist who believes pharmaceutical CEO Michelle Fuller (Emma Stone) is an alien intent on destroying Earth. Alongside his intellectually disabled cousin Don, played by newcomer Aidan Delbis in his impressive film debut, Teddy hatches a kidnapping plan to force Michelle to reveal her extraterrestrial identity.

What elevates “Bugonia” beyond its bizarre premise is how it taps into our current cultural anxieties. In an era where conspiracy theories and misinformation spread with unprecedented speed, Teddy’s paranoia feels uncomfortably familiar. His doomsday fears and distrust of corporate power reflect growing public concerns about ecological disaster and pharmaceutical industry ethics.

The film marks Stone’s fourth collaboration with Lanthimos, following their acclaimed work in “The Favourite” and “Poor Things.” Stone delivers a clipped, raw performance as Michelle Fuller, portraying the pharmaceutical executive as brittle, insincere, and manipulative—a character whose public-facing persona barely conceals something more sinister.

Much of the narrative tension emerges from the psychological battle between Teddy and Michelle during the kidnapping. Plemmons excels in conveying Teddy’s complex motivations, including his belief that Michelle is responsible for his mother Sandy’s (Alicia Silverstone) drug addiction and subsequent coma. This personal vendetta adds emotional weight to what might otherwise be dismissed as pure delusion.

Particularly notable is Delbis’s performance as Don. The 19-year-old actor, who identifies as autistic, brings a vulnerable authenticity to the role that serves as the film’s emotional anchor. Don’s unwavering loyalty to Teddy, despite his own reservations about the kidnapping scheme, creates some of the film’s most poignant moments. In many ways, Don emerges as the true victim caught in the crossfire of Teddy’s escalating obsession.

While “Bugonia” isn’t Lanthimos’ strangest work, it maintains his trademark ability to create unsettling, slightly unreal environments that serve as mirrors for contemporary societal issues. The director continues to demonstrate his knack for extracting committed, boundary-pushing performances from his cast.

The film’s 118-minute runtime unfolds with increasing tension, keeping audiences guessing about the true nature of Michelle’s identity and Teddy’s mental state. Is he delusional, or might there be something to his wild theories? Lanthimos wisely maintains ambiguity throughout much of the narrative, allowing viewers to question their own assumptions.

For audiences unfamiliar with Lanthimos’ previous work, “Bugonia” might prove challenging. The filmmaker makes no concessions to conventional storytelling, instead trusting viewers to follow his distinctive vision into uncomfortable territory. The black comedy elements provide occasional relief from the tension but often serve to heighten the unsettling atmosphere rather than dissipate it.

“Bugonia” arrives at a time when pharmaceutical companies face increased scrutiny over pricing practices and product safety, giving the film’s corporate conspiracy elements added resonance. While the alien invasion subplot may seem far-fetched, it functions effectively as a metaphor for corporate entities perceived as inhuman and detached from ordinary people’s suffering.

For viewers willing to embrace discomfort and ambiguity, “Bugonia” delivers a thought-provoking experience that lingers long after the credits roll. Like the best of Lanthimos’ work, it uses the bizarre to illuminate uncomfortable truths about our shared reality, leaving audiences simultaneously entertained and disturbed.