This sequel to “The Beekeeper” is wild.
Kidding, this is not a sequel to the 2024 action vehicle for Jason Statham. Instead, the beekeeper in this film is Teddy (Jesse Plemmons), a paranoid conspiracy theorist who believes aliens have infiltrated Earth for nefarious reasons. The dastardly plot of the aliens, he thinks, is the purposeful destruction of bee colonies.
To put a stop to this effort, Teddy and his cousin Don (Aidan Delbis) decide to kidnap who they believe to be a high-ranking extra-terrestrial. That individual is Michelle (Emma Stone), the CEO of a large pharmaceutical company. The duo is successful, and they hold Michelle with a demand that she help negotiate an end to the aliens’ occupation of Earth.
Like his 2023 picture “Poor Things,” director Yorgos Lanthimos’ “Bugonia” is not a completely original creation. Rather than an adaptation of a book, though, this feature is a remake of a 2003 South Korean film, “Save the Green Planet.” As expected from an auteur filmmaker, Lanthimos crafts this thing in his own signature way, definitely putting his stamp on it.
It’s a film that’s as stylish as it is hilarious. A staple of Lanthimos’ works, from 2018’s “The Favourite” to last year’s “Kinds of Kindness,” has been the ability to seamlessly blend absurd, dark comedy with sharp and grounded insights into the human psyche.
That’s the case in “Bugonia,” which consistently produces laughs while engaging in human drama, all through a satirical lens. This all unfolds under a ticking clock, as a countdown takes place toward a coming lunar eclipse, ratcheting up the conflict between Teddy and Michelle each day.
It’s thoroughly impressive how funny Lanthimos makes “Bugonia,” pushing hard with humor dripping in satire. Yet the dark nature of the situation, Michelle’s perilous imprisonment, is always present, even as Teddy is spouting ridiculous talk of alien empires as statements of fact.
All of this is wrapped in themes about environmentalism, healthcare, capitalism and mistrust in institutions, as well as how all of these can drive individuals into conspiracy thinking. It’s all interwoven nicely into the characters themselves, too, from Michelle’s CEO status, to the medical experiences of Teddy’s mother.
Like previous films, Lanthimos’ latest project also explores power dynamics and imbalances, which of course is played with several times as the story progresses. Helping make that work are the two main power players in the movie, the leads played by Stone and Plemons. One is an Oscar winner and the other is a nominee, so it’s no surprise that they’re both masterful on screen.
Plemons is fantastic as a man who is trying to hold his conviction despite being out of his depth. It’s clear that his character is driven by fear and paranoia, even as he attempts to remain stoic. Stone, meanwhile, is fantastic at playing a character used to being in control, and working desperately to regain a strong position.
The supporting cast is a small one, but new actor Aidan Delbis stands out as the third person in the situation. He plays Teddy’s cousin, Don, and adds a level of innocence to the situation with his portrayal.
The look and sound of “Bugonia” is praise-worthy, too. The score is bombastic, and it often provides the sense of importance Teddy feels about his actions, which he believes are a noble counter to an alien invasion. Lanthimos and the crew also did solid work shooting in mostly a cramped space, the basement area, where the main predicament is taking place for Michelle.
The lighting, set design and mix of shots play into what’s already been discussed about the themes and characters. It’s also a great contrast to when scenes take place at Michelle’s home and place of work which are of course much less dingy and more sterile. There are also a few well-placed scenes in black-and-white that add to those moments.
“Bugonia” isn’t quite as strong as Lanthimos’ other works, “Poor Things” and “The Favourite” are stronger overall. Plus, the ending was entering a territory of self-indulgence that felt like too much. However, in the end, it’s still very funny and engaging, because each moment that makes an audience laugh or cringe has some added force behind it. 4.75 out of 5.
Matthew Liedke on Film 