Bugonia
- 2025
- 12 avec avertissement
- 1h 58min
Deux jeunes hommes obsédés par la conspiration kidnappent la PDG d'une grande entreprise, convaincus qu'elle est un extraterrestre qui a l'intention de détruire la planète Terre.Deux jeunes hommes obsédés par la conspiration kidnappent la PDG d'une grande entreprise, convaincus qu'elle est un extraterrestre qui a l'intention de détruire la planète Terre.Deux jeunes hommes obsédés par la conspiration kidnappent la PDG d'une grande entreprise, convaincus qu'elle est un extraterrestre qui a l'intention de détruire la planète Terre.
- Réalisation
- Scénaristes
- Stars
- Récompenses
- 6 victoires et 82 nominations au total
Momma Cherri
- Tina
- (as Charita 'Momma Cherri' Jones)
Janlyn Bales
- Andromedan
- (as Janlyn Mallis Bales)
Résumé
Reviewers say 'Bugonia' delves into conspiracy theories, corporate greed, and paranoia, featuring strong performances by Emma Stone and Jesse Plemons. The film is lauded for its dark humor, psychological tension, and distinctive visual style. However, some find the plot complex, the pacing sluggish, and the ending controversial. Its satirical approach to modern issues garners mixed reactions, with some praising its audacity and others deeming it pretentious or unengaging. While the acting is widely acclaimed, the script and direction remain contentious points.
Avis à la une
Plemons sinks into this role like wet cement.
If Heath Ledger's Joker was chaos on fire, Plemons is the silence that burns before the explosion. The yin to that yang. No makeup, no theatrics, just a man quietly losing his grip one inch at a time. You can't look away.
His scenes of him 'brainwashing' his cousin exudes a natural darkness I cannot recall ever seeing on screen before.
If Heath Ledger's Joker was chaos on fire, Plemons is the silence that burns before the explosion. The yin to that yang. No makeup, no theatrics, just a man quietly losing his grip one inch at a time. You can't look away.
His scenes of him 'brainwashing' his cousin exudes a natural darkness I cannot recall ever seeing on screen before.
London Film Festival review
For a moment BUGONIA is like watching "Misery" or "Funny Games" through the lens of 1950s Hollywood dystopian paranoia films. Yorgos follows the sadistic path he started in The Killing of a Sacred Deer and Kinds Of Kindness playing with Kubrick-like visuals and sounds to deliver a fairly straightforward cynical fable until it's not.
Emma and Jesse explore a violent theatricality and beautiful expressionism to great success. Both are harrowing and spectacular (this is Plemons best part ever) but are also limited by the linearity of it all. The last act reconnects Lanthimos with his subversive, unpredictable and absurd poetry but I guess Media, Politics and Truths are this year's true topics. Not surprising this film shares common grounds with Eddington.
I wanted to love it but I just really really liked it.
For a moment BUGONIA is like watching "Misery" or "Funny Games" through the lens of 1950s Hollywood dystopian paranoia films. Yorgos follows the sadistic path he started in The Killing of a Sacred Deer and Kinds Of Kindness playing with Kubrick-like visuals and sounds to deliver a fairly straightforward cynical fable until it's not.
Emma and Jesse explore a violent theatricality and beautiful expressionism to great success. Both are harrowing and spectacular (this is Plemons best part ever) but are also limited by the linearity of it all. The last act reconnects Lanthimos with his subversive, unpredictable and absurd poetry but I guess Media, Politics and Truths are this year's true topics. Not surprising this film shares common grounds with Eddington.
I wanted to love it but I just really really liked it.
Watching *Bugonia* felt strange in the best possible way. Lanthimos throws you into a world where nothing feels entirely normal - the rules are odd, people react in unpredictable ways, and yet something about all this chaos feels oddly familiar. You laugh, but there's always tension underneath it, like you're waiting for something to go wrong. The emotions hit harder than expected, even in moments that seem absurd on paper.
The story follows two conspiracy-obsessed men who kidnap Michele (played by Emma Stone), a corporate figure they believe is an alien trying to destroy Earth. It sounds ridiculous - and it is - but Lanthimos uses that absurdity to dig into paranoia, power, and the strange ways people cling to belief when faced with uncertainty.
Visually, the film looks beautiful and a bit unsettling. Shooting on 35mm gives it texture - the kind of imperfections, shadows, and lighting you don't get with digital. It makes the world feel alive, slightly out of sync, and that's exactly what this story needs. The camera work feels intentional without being flashy, every frame adding to the unease.
The tone is darkly funny but emotionally sharp. Lanthimos doesn't offer easy answers or explanations. He just builds tension through behavior - through silence, through glances, through moments that should be funny but end up being uncomfortable. Emma Stone stands out; she plays Michele with a mix of calm control and quiet menace that holds the film together.
It's one of those films that doesn't fully explain itself, and maybe that's the point. You either go along with its strange rhythm or you don't. For me, it worked - not because everything made sense, but because it felt honest in its chaos. Lanthimos doesn't tell you what to think, he just lets the madness unfold, and somehow, that's what makes it stick.
**Verdict:** 9/10 - not as tight as *The Favourite*, but easily Lanthimos's boldest and most unpredictable work since *The Lobster*.
.
The story follows two conspiracy-obsessed men who kidnap Michele (played by Emma Stone), a corporate figure they believe is an alien trying to destroy Earth. It sounds ridiculous - and it is - but Lanthimos uses that absurdity to dig into paranoia, power, and the strange ways people cling to belief when faced with uncertainty.
Visually, the film looks beautiful and a bit unsettling. Shooting on 35mm gives it texture - the kind of imperfections, shadows, and lighting you don't get with digital. It makes the world feel alive, slightly out of sync, and that's exactly what this story needs. The camera work feels intentional without being flashy, every frame adding to the unease.
The tone is darkly funny but emotionally sharp. Lanthimos doesn't offer easy answers or explanations. He just builds tension through behavior - through silence, through glances, through moments that should be funny but end up being uncomfortable. Emma Stone stands out; she plays Michele with a mix of calm control and quiet menace that holds the film together.
It's one of those films that doesn't fully explain itself, and maybe that's the point. You either go along with its strange rhythm or you don't. For me, it worked - not because everything made sense, but because it felt honest in its chaos. Lanthimos doesn't tell you what to think, he just lets the madness unfold, and somehow, that's what makes it stick.
**Verdict:** 9/10 - not as tight as *The Favourite*, but easily Lanthimos's boldest and most unpredictable work since *The Lobster*.
.
Not for everyone, but definitely for me! To start, the acting was unbelievable from the three main characters. Emma Stone was amazing, and Jesse Plemons and the actor who plays his cousin are just outstanding. The hair and makeup were very creative - from bald on Emma, to HELP - PLEASE GET THIS MAN SOME SHAMPOO! The story was the fun part - who doesn't like twists, turns, ups, downs and inside outs??? This was just a fun movie that made me want to see it a couple more times, just like Poor Things. BRAVO!
Lanthimos strikes again! And it's another masterpiece. Black Comedy, Satire, Social critic on internet conspiracy theories, weird, absurd, witty, bloody and last but not least a nihilistic comment on mankind working on its own extinction.
And what an intelligent screenplay it is! And all in all an exciting and entertaining movie with surprising twists. How many times can you leave the theatre feeling refreshed and inspired, because you know you have just watched something you have never seen on a screen before? Emma Stone and Jesse Plemons deliver great performances, on top of their skills. It's such a pleasure to watch actors with their depth and intensity.
I loved the whole experience, it's a brilliant movie, strongly recommended.
And what an intelligent screenplay it is! And all in all an exciting and entertaining movie with surprising twists. How many times can you leave the theatre feeling refreshed and inspired, because you know you have just watched something you have never seen on a screen before? Emma Stone and Jesse Plemons deliver great performances, on top of their skills. It's such a pleasure to watch actors with their depth and intensity.
I loved the whole experience, it's a brilliant movie, strongly recommended.
The Movies of Yorgos Lanthimos
Le saviez-vous
- AnecdotesAidan Delbis, who had never acted professionally before, was cast as Don after Yorgos Lanthimos decided to find a non-professional neurodivergent actor to provide a different dynamic alongside Emma Stone and Jesse Plemons.
- GaffesWhen Teddy mispronounces "shibboleth," Michelle mocks him for using poor grammar. But grammar is the set of rules for how a language is structured (e.g. order of words in a sentence, inflection of words etc.), a mispronunciation is not a grammatical error.
- Crédits fousThe Focus Features, Element Pictures and CJ ENM production companies are mentioned at the start of the film in cursive font without their production logos.
- Bandes originalesGood Luck, Babe
Performed by Chappell Roan
Written by Dan Nigro (as Daniel Leonard Nigro), Chappell Roan (as Kayleigh Rose Amstutz) and Justin Tranter
Courtesy of Island Records
Under license from Universal Music Operations Limited
Published by Sony Music Publishing and Old Mine Cut Publishing pub designee (BMI)
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Détails
- Date de sortie
- Pays d’origine
- Site officiel
- Langue
- Aussi connu sous le nom de
- Bugonia Bugonia
- Lieux de tournage
- Sarakiniko Beach, Milos Island, Grèce(beach in the end)
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Montant brut aux États-Unis et au Canada
- 17 692 390 $US
- Week-end de sortie aux États-Unis et au Canada
- 709 848 $US
- 26 oct. 2025
- Montant brut mondial
- 40 293 453 $US
- Durée
- 1h 58min(118 min)
- Couleur
- Mixage
- Rapport de forme
- 1.50 : 1
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