In one sentence: Bugonia follows two conspiracy-obsessed cousins who kidnap a powerful tech CEO, convinced she is an alien intent on wiping out humanity.

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In an effort to watch all of this year’s Oscar-nominated films, I found myself reluctantly sitting down to a Yorgos Lanthimos movie. I have struggled with his work in the past, often finding it alienating despite its craft. The Killing of a Sacred Deer, Poor Things and Kinds of Kindness all left me cold. Bugonia, however, challenged that expectation and proved more effective than anticipated.

Based on the Korean film Save the Green Planet!, Bugonia follows cousins Teddy (Jesse Plemons) and Don (Aidan Delbis), two conspiracy theorists convinced that something sinister is happening beneath the surface of everyday life. Teddy, the more dominant and unstable of the two, believes that alien forces are manipulating humanity and that Michelle (Emma Stone), the powerful CEO of tech company Auxolith, is not human at all. The pair kidnap her, shave her head and coat her in antihistamine cream in an attempt to prevent her from communicating with her supposed mothership. As the plot unfolds, we learn Teddy’s mother was left in a vegetative state following an experiment linked to Michelle’s company, giving his paranoia a personal edge. What begins as delusion spirals into something far more dangerous as a police search begins and Don’s guilt starts to fracture their fragile dynamic.

The film’s title may puzzle many viewers. Bugonia refers to an ancient Greek belief that bees could be born from the carcasses of oxen; a notion tied to the idea of life emerging from decay. This concept frames the film’s larger commentary on humanity, corruption and self-destruction. Lanthimos seems to suggest that rot breeds consequence and that mankind’s behaviour may ultimately invite its own reckoning. It is a bleak but thought-provoking idea and one of the film’s more effective elements.

The performances are a real strength. Jesse Plemons is excellent as Teddy, embodying the unpredictability and danger of a man who feels both intellectually superior and deeply lost. His portrayal captures the volatility of conspiracy thinking, where certainty and confusion coexist. Emma Stone also impresses, undergoing a physical and emotional transformation that keeps the audience constantly questioning who truly holds power. Her portrayal is composed, manipulative and resilient and watching her attempt to psychologically outmanoeuvre her captors is one of the film’s most compelling threads. Aidan Delbis gives a strong debut performance as Don, whose fear and moral conflict provide the film with humanity.

Visually, the film feels intentionally rough around the edges, far removed from polished Hollywood aesthetics. As it progresses, it leans increasingly into the surreal territory familiar to Lanthimos fans, particularly in its final act. The ending is strange, unsettling and divisive but simultaneously intriguing and alienating and will almost certainly lose some viewers while fascinating others.

Overall, Bugonia is a stronger film than I expected. It may benefit from being based on an existing film, giving the story a clearer structure while still allowing Lanthimos’ distinctive sensibility to emerge. The performances are excellent and the ideas are provocative, even if the style will not work for everyone. Ultimately, Bugonia remains an unsettling experience. It is strange, divisive and, fittingly, a little alien.

★★★ (3/5)