“Bugonia” refers to a concept in Greek mythology where the carcass of an ox is able to give rise to the spawn of bees, symbolizing this idea of regeneration and renewal from death and decay. 

Yorgos Lathamos’s Bugonia, inspired by the South Korean sci-fi film Save the Green Planet follows the plot of two men who kidnap a CEO whom they were convinced is an alien, intending to destroy the planet. With that said, Bugonia is undoubtedly one of, if not the most, uniquely alluring and singular film of 2025.

First of all, the acting from everyone is just incredible. I’ve only ever seen Jesse Plemons in a few other projects such as Breaking Bad and Game Night, both of which display his excellence and dedication to the art form, something he took to a whole new level with his role as Teddy. His manic personality with sudden, often aggressive shifts in demeanor to his peculiar yet deeply pitiful persona, gives way to a character with multiple complexities and nuances. Plemons executed this character perfectly—conveying the terrifying, entirely frantic, and extremist conspiracy theorist, but also terrified and broken human, taking Lathamos’s storytelling to the next level. His role creates this paradox where the audience empathizes with Teddy without ignoring the obvious immorality and evilness in his actions. 

Following Plemon’s central performance, Emma Stone (to no absolutely no one’s surprise) plays the role of CEO Michelle Fuller with such mastery. I think part of what made Bugonia so intriguing was that while the film has no issue in invoking sympathy from the audience for Fueller and the inhumane treatment she receives in result of her kidnapping, the possibility of her truly being an alien is never fully eliminated. Emma Stone shows full conviction in the dominant, respected, and fierce pharmaceutical girl-boss persona she puts on, but not without these small uncanny moments that suggest she’s something else, something rather inhuman. And to top it all off, it is Aidan Delbis’ sincere and innocent performance as Don that helps ground the film, reminding the audience that there is some good amidst bee stings and bloodshed.

While Bugonia operates as this dark yet satirical comedy, the film comments on several different social and societal issues. It definitely pokes fun at conspiracy theorists from time to time, but ultimately shines a sympathetic light on them, examining how individuals in extremely vulnerable and malleable circumstances are easy targets for such irrational agendas. Furthermore, the film criticizes capitalism by displaying an America in which big corporations view their employees as numbers and quotas, and everyday citizens as test subjects for potentially fatal treatments. Bugonia also serves as a cautionary tale for misinformation and false rumors in a digital global society, as it’s far too easy for people to get lost in the dark corners of social media networks, places often riddled with groundless accusations and extremist thoughts. To dig even deeper within the mind of Yorgos Lathimos, the film’s depiction of bees and nature depict the parallel between the human and natural world, justifying our drive for growth and potential for destruction. And as the film comes to a conclusion, Lanthimos decides to end on a rather humorous beat, providing a stark contrast to the melodramatic and chaotic buildup. The significance behind the end of the film is rather ambiguous, but what it does leave us with are some concrete possibilities regarding the fate of humanity and its existence on planet Earth.

Essentially, Bugonia is Yorgos doing what Yorgos Lanthimos does best: harmoniously blending bleak, dark comedy with chaotic absurdity. I’d even argue that Bugonia is probably the most “normal” of his films (at least one of the three I’ve seen), as it lacks his usual excessive quirkiness. So for those that don’t typically enjoy his style, I’d suggest giving Bugonia a try, as you may find yourself enjoying the film. But even those who are fans of his, you’ll be glad to know that Lanthimos’ signature touch is still quite potent here. 

And last, but certainly not least, Bugonia gave us Emma Stone singing Good Luck, Babe!, which is easily the greatest cinematic moment of 2025, so for that Yorgos, I thank you deeply.