Bugonia: A Hive of Madness
With Bugonia, Lanthimos once again solidifies himself as cinema’s freak master — and I couldn’t be more obsessed with him as a filmmaker.
After Poor Things (2023) and Kinds of Kindness (2024), Yorgos Lanthimos returns with another feature just as unhinged as its predecessors — Bugonia, a remake of Jang Joon-hwan’s South Korean film Save the Green Planet! (2003).
The film opens with Teddy (Jesse Plemons), a conspiracy theorist beekeeper, and his cousin Don (Aidan Delbis) discussing bees — particularly the Queen bee, who is the central figure of the hive, commanding her colony. This quickly becomes a metaphor for society, with Teddy remarking that “we are the same as the bees, a dead colony.”
Their plan is simple (if deranged): kidnap a powerful CEO (Emma Stone) whom they are convinced is an alien bent on destroying Earth. After dragging her into their basement and trapping her, their delusions spiral into chaos — and I mean pure, delightful chaos. Every minute is crazier than the last. It’s literally impossible to get bored while watching this film.
Bugonia is an unhinged critique of our manipulable and misinformed society and the ways we are collectively driving ourselves toward destruction. Lanthimos explores how easily people are drawn into cult-like thinking, brainwashed into believing whatever they’re told. The film paints a portrait of human naivety and our willingness to be manipulated, while underscoring the chaos of the world we live in — genocides, ecological collapse, endless wars — and our inability, or refusal, to act.
In Lanthimos’ vision, humans might very well be the worst species Earth has ever encountered — and honestly, he’s right. Which other species is deliberately killing its home and its own people? And for what? Power? Capitalism? It’s insane, and I’ll never understand how humankind can be so self-destructive. And the thing is, it didn’t start yesterday. Look at history: wars, genocides, exploitation — society has been broken for a very long time. Every day in the news, there’s a new crisis, a new decision that makes me genuinely worried about the future (I try to stay positive, but sometimes it’s hard) — but that’s why Bugonia feels more relevant than ever.
It’s great to have filmmakers bold enough to tackle these subjects and wrap them in dark satire that entertains while making audiences (hopefully) realize that something is very wrong right now — and that action is needed, not tomorrow, not in a year, but today.
Even though the subject matter is clear, the film is completely unpredictable, veering in every possible direction — and that’s the beauty of Lanthimos’ work. His filmmaking is always compelling, from storytelling to camerawork to performances, keeping me on the edge of my seat, with my heart racing, as I never know what might come next. His films often leave me walking out of the theatre confused but utterly blown away. With Bugonia, I wasn’t confused at all — the intentions are clear — but I was still one hundred percent blown away.
Jesse Plemons goes full freak mode here — one of his scenes literally made me gasp out loud. He is, without a doubt, one of the best actors working today. His range is unmatched, and just when I think he’s peaked, he pushes further and proves me wrong. He deserves every ounce of recognition for this role. Emma Stone, too, is as brilliant as ever. She doesn’t need to overplay anything; she’s a chameleon who can slip into any part with ease. Watching her alongside Plemons feels like witnessing a masterclass in acting. Their pairing is electrifying, the kind of screen chemistry that elevates the entire film.
And just when you think this film couldn’t get any crazier, the third act proves you otherwise. I wanted to stand up and cheer in the theatre — this film genuinely reminded me why I love cinema so much. With Bugonia, Lanthimos once again solidifies himself as cinema’s freak master — and I couldn’t be more obsessed with him as a filmmaker.
Bugonia had its world premiere at the Venice Film Festival on August 28, 2025, and will have a limited release in the United States on October 24, before a wide release on October 31.
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