In times of great societal upheaval, it becomes appealing for many to find ascapegoat upon which all ills and injustice can be conveniently pinned. Some choose aminority based on race, gender, religion or sexuality; others might opt for another country more generally, or, in the case of Teddy Gatz (Jesse Plemons), an alien species from aneighbouring galaxy known as Andromedons, who are single-handedly bringing about the slow death of the humanrace.
Teddy relays this to his cousin Don (Aidan Delbis) with the patience and confidence one might explain the life cycle of afrog to asmall child: this information is, was, and always shall be. Despite some reservations about Teddy’s alien conspiracy, the younger, naïve Don trusts his cousin’s judgement, becoming his accomplice in an abduction plot to prevent Earth from certain doom. The plan is simple: abduct ahigh-ranking Andromedon who is posing as ahuman on earth and use them to obtain access to the mothership where they might plead the planet’s case.
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An understandable level of scepticism has surrounded Yorgos Lanthimos’ Bugonia – based on Jang Joon-hwan’s 2003 Korean sci-fi black comedy Save The Green Planet! – since it was announced, given Hollywood’s track record with English-language remakes of East Asian films. For every The Departed there’s an Old Boy (2013) or Ghost in the Shell, and screenwriter Will Tracy’s biggest feature credit (co-writing the irredeemable social satire The Menu) added little in the way of confidence. Consider this aformal apology to Tracy and an admission of humility for doubting Lanthimos’ artistic instincts – the droll, disturbing and unexpectedly moving Bugonia more than justifies its offshoot existence. Of course, it helps that original director and writer Jang Joon-hwan gave the remake his blessing, collaborating with Tracy on the script and initially lined up to direct before ill health caused him to step back, leaving the film in Lanthimos’ capable hands.
As well as reuniting with Plemons following Kinds of Kindness, Bugonia marks Lanthimos’ fourth collaboration in arow with Emma Stone (sixth if you include their recent Jerskin Fendrix music video and short film Bleat), here cast as Michelle Fuller, the Elizabeth Holmes-coded biotech girl boss caught in Teddy’s crosshairs. It’s easy to understand why an actress like Stone chooses to work with Lanthimos so often; the parts he finds for her are distinct and memorable, playing to her strengths as acomedian while also commanding some dramatic heft. Stone – who hasn’t been shy about the fact she agreed to have her head shaved on-camera in the back of acar for Bugonia – is fantastically game and compelling, as unpredictable as Plemons but with the benefit of her expressive eyes, as soulful and wide as E.T’s.
A number of Lanthimos’ key collaborators return behind the scenes return too: Jerskin Fendrix (Score), Robbie Ryan (Cinematography), Yorgos Mavropsaridis (Editor), James Price (Production Design), Johnnie Burn (Sound Design) and Jennifer Johnson (Costume Design). Perhaps it’s his fidelity to this team of collaborators that creates such afluid vision; much like the honey bees that Teddy lovingly tends to in his garden, every artist moves in service of agrand design.
