Bugonia is a masterclass reminder that the world is bleak and nothing matters… but we can still have fun along the way. Not only is this one of Yorgos Lanthimos’ best films since The Killing of a Sacred Deer, it’s also one of the best films of 2025.

Remakes can be a tricky feat to pull off. Especially when they’re remakes of such unique films from auteur voices such as Save The Green Planet! by Jang Joon-hwan. Bugonia is one of those rare remakes that brings to life a fresh and unique vision of a source material that rewrites its DNA in a way that not only justifies its existence but instead allows both to coexist as fascinating pieces in the art medium of film. 

Directed by Yorgos Lanthimos (his third film in as many years), Bugonia follows Teddy (Jesse Plemons) and Don (Aidan Delbis), two paranoid conspiracists that are convinced that successful CEO Michelle (Emma Stone) is an Alien secretly out to destroy earth. It’s probably Lanthimos’ most simple premise in years, and he uses it to strong effect providing a commentary on modern societal issues such as conspiracy theories, the healthcare system, sexual abuse, and many other topics in the cultural zeitgeist today.

While a premise this somewhat simple could easily be fumbled by any other filmmaker, Lanthimos and co. elevate it to new heights with top notch craft and performances. While the script by Will Tracy is a tad too simplistic for my liking, Plemons in particular gives a feeling of nihilism to the material that makes it uncomfortable to watch at times. He gives an unapologetically disturbing performance as Teddy, that goes to show how far and willing someone who has truly gone over the edge is truly lost. It’s one of those performances that’s a solid reminder that Plemons is one of the greatest working actors of our generation.

Stone also delivers a standout performance that encapsulates the performative female CEO that we see all too often in our real world. While her performance is nowhere near the caliber of her previous collaborations with Lanthimos, in Bugonia she cements herself as one of the director’s strongest assets. The way she plays off of Plemons’ performance is a sight to behold and one scene in particular made me so uncomfortable that I couldn’t believe what I was witnessing onscreen.

That’s a running trend with Bugonia. While many have lauded Lanthimos for his “sicko” era where the filmmaker was pumping out films such as Dogtooth and The Killing of a Sacred Deer, I can’t help but feel as though Lanthimos has gone a little mainstream. Films like The Favourite and Poor Things, while superb, often felt like they were being made for the largest audience in mind. That’s not the case with Bugonia as I feel it’s a full return to the uncomfortable nihilism that his early work is known for. If you’re a fan of Lanthimos’ “sicko” era, Bugonia is a feast.

It’s hard to talk about Bugonia’s final act without diving into spoilers but suffice to say it pays off in dividends. The film takes a bleak approach to the viewing of human nature that feels so refreshing in a world where audiences clamor to be coddled by films. Bugonia bucks this trend by presenting the proposition that maybe humanity is a lost cause and we brought it upon ourselves. The delivery of this message is through self deprecating humor and shocking moments that are sure to get a reaction from any audience member. This isn’t a film that’s looking to change the world. Bugonia is a film that knows that the world is already lost. I can’t help but applaud it for the commitment to that mentality. The ending doubling down on its beliefs in the most extreme of fashions is a sight to behold.

Bugonia’s visual language is superb. After experimenting with VistaVision for a singular sequence in his previous film Poor Things, Lanthimos employs the format here for a reported 95% of the film. The result is a deep rich color palette that uses a lot of natural red and browns that give the film a sickly or gross feeling despite the visual clarity that comes with shooting on a larger format film. Lanthimos also applies his signature camera techniques to greater effect here despite its realistic modern setting. Bugonia has a sense of uneasiness and paranoia that was strongly lacking from his previous effort Kinds of Kindness. Cinematographer Robbie Ryan makes the world feel uneasy and Bugonia is his best camera and lighting work since The Favourite.

Bugonia is a fantastic return to form for Lanthimos and company. While their previous works were by no means bad, in fact all of them were some of the best films of their respective years, Bugonia is a reminder of what makes Lanthimos one of the most visionary directors working today. The approach to nihilism and paranoia is something to behold in an era where subtext is considered a faux pas. Bugonia is also a film that has some of the best performances of the year and genuinely some of the most shocking moments in recent memory. After a brief detour into the mainstream, Bugonia is a masterclass reminder that the world is bleak and nothing matters… but we can still have fun along the way. Not only is this one of Lanthimos’ best films since The Killing of a Sacred Deer, it’s also one of the best films of 2025.

Grade: A+

Oscar Prospects:
Likely: Best Lead Actress (Emma Stone), Best Cinematography, Best Adapted Screenplay
Should be Considered: Best Picture, Best Director, Best Lead Actor (Jesse Plemons), Best Costume Design, Best Original Score, Best Sound

Release Date: October 24, 2025
Where to Watch: In Select Theaters