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Great film with misbegotten ending

Bugonia

Starring Emma Stone, Jesse Plemons and Aidan Delbis

MA15+

4/5

Bugonia is yet another gripping psychological thriller directed by Oscar-winning auteur Yorgos Lanthimos.

Michelle Fuller (Emma Stone), the CEO of a major pharmaceutical company, is abducted by conspiracy theorist Teddy (Jesse Plemons) and his cousin Don (Aidan Delbis), who believe she is an alien conspiring to destroy Earth.

Bugonia is an English-language remake of the 2003 South Korean film Save The Green Planet!, but also bears a strong similarity to the 1990 horror classic Misery, with its themes of coercion and confinement and its volatile, mentally-ill antagonist.

Plemons alternates from a driven, supportive man to a violent, petty fool as Teddy, and the film’s nail-biting satire raises the uncomfortable annoyance of debating an unshakeably certain conspiracy nutter to an imprisoning extreme. Stone emanates authority even in her scared, weakened state, and it’s satisfying to watch Michelle eke power back by twisting her captors’ narrative back on them. Don, a sweet, earnest guy increasingly unsettled by Teddy’s cruelty, is an autistic character played by an autistic actor; as a fellow autistic person, I’m grateful that Don isn’t a hypercompetent robot like so many pop culture portrayals of autism.

Bugonia is a stressful, darkly funny slow-burn of power tipping back and forth between Teddy and Michelle. The opening establishes the film’s excellent editing, weaving together Michelle’s routine and Teddy’s plans by deftly cutting between and contrasting their daily lives. Jerskin Fendrix’s booming score may be slightly overblown, but it fits the intense emotions at play.

Unfortunately, I kinda hated the ending. It’s hard to say why without spoilers, but I will say there is a weird, possibly Heaven’s Gate-inspired twist, and the conclusion really shouldn’t validate the bad guys.

Despite a misjudged ending, Bugonia is an enthralling, superbly-written thriller with outstanding performances, and is playing in most Victorian cinemas.

– Seth Lukas Hynes

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