‘Bugonia‘ is apparently a relatively ‘light’ film in Yorgos Lanthimos‘ filmography. It’s a remake of ‘Save the Green Planet!’, the 2003 black fantasy comedy by Korean director Jan Joon-hwan, who appears as an executive producer on the American film’s credits. The film is ‘light’, of course, only on ‘Lanthimos‘ scale. ‘Light’ in the sense that it’s a relatively accessible film, perhaps his most accessible since ‘The Favourite’. About two-thirds of the way through this film, I had the impression that I was watching a technological anticipation thriller combined with a satire of conspiracy theories and those who adopt them as a way of life and purpose in life. And then something happens, and perspectives begin to flip, so that by the end of the film (and even after the end of the film) we will continue to debate with other viewers and with ourselves about the logic of what we saw and about the characters on screen. The way the story is structured and especially the ending make me believe that Yorgos Lanthimos had more serious aspirations in what he wanted to convey as a message. But can we be sure about the message when it comes to Lanthimos? He is one of those creators who even when he wants to say something very bluntly, he does it through a huge metaphor. In addition, as always, he keeps part of the cards close to his chest and leaves to viewers the freedom to imagine and decide.
Michelle Fuller, the powerful CEO of a pharmaceutical concern and cousins Teddy and Don live in parallel worlds that should never intersect. And yet, their destinies collide when the two kidnap the rich and arrogant woman and keep her prisoner in their dilapidated house, somewhere, in a disadvantaged area, without a name and identity. The two men are followers of conspiracy theories according to which aliens from the Andromeda galaxy have taken over key positions on Earth and are actually leading the destinies of humanity. They do not ask for a ransom, but want the woman – who they are convinced is ‘Andromedan’ – to lead them on the aliens’ interstellar ship, in order to negotiate with their emperor their withdrawal and non-interference in the internal affairs of the earthlings. The kidnapped woman has no other thought, of course, than to escape. A large part of the film consists of the dialogue between the two men and the captive woman, in their attempt to convince her to transport them into space and in her attempts to find ways to escape from the terrible situation she is in.
However, things are more complicated than they seem. I will avoid spoilers and will not tell about the surprises that await the heroes and the viewers. The last third of the film slips into horror, with Lanthinos-style twists and turns of perspective. Emma Stone (who is also a co-producer), at her fifth collaboration with the Greek-born director, manages to create a character from the gallery of female characters who go through terrible trials (see also Coralie Fargeat’s ‘Revenge’). But I liked Jesse Plemons‘ creation even more. He is pathetic and impressive in the role of Teddy, the young man with a destiny marked by trauma and prisoner of conspiracy theories, a role so representative of our times. The decision to cast Aidan Delbis, a young and talented autistic actor, in the role of Don was also very courageous and courage paid. Delbis plays with intensity a character who represents the sole element of logic and human decency in the plot. ‘Bugonia’ is not an easy film to watch, those who dislike intense scenes or topics should avoid watching it, but as with all Lanthimos‘ films, viewers will leave the screening slightly changed from who they were when than they entered it.