Jesse Plemons has a plea: Pause Netflix and go see “Bugonia” in the theater. The film, in which he plays a conspiracy theorist who kidnaps and tortures Emm a Stone’s pharma CEO, believing her to be an alien, is the kind that might seem small in scope. On a certain level, it’s three people — the possibly insane mastermind Teddy (Plemons), his cousin and accomplice Don (Aidan Delbis) and their victim Michelle Fuller (Stone) — in a basement. And yet, in the hands of filmmaker Yorgos Lanthimos and his collaborators, it feels big in scope too, with a booming score, raw performances, grand themes about perceptions of reality and the human experiment and an ever-escalating tension as you try to figure out whom to believe.
“It’s a very entertaining film and a ride,” Stone said in an interview alongside her co-star. “It’s not this heavy meditation on something. There is a bit of absurdism and that stamp that he (Yorgos) puts on everything where there’s humor laced all throughout.”
“Bugonia” arrives in select theaters this weekend on a wave of good buzz and reviews after premiering at the Venice Film Festival. But it’s also coming into a theatrical marketplace that has been, at best, tough on art films and awards hopefuls, no matter how starry or well-reviewed.
Lanthimos’ films have broken through the noise before, especially when Stone is involved. “Poor Things” was hardly an assured box office hit, but managed to make over $117 million — over three times its production budget — by the end of its run.
“It’s a movie that feels made to be experienced in theaters,” Plemons said. “I’d like to talk to all the people out there right now and say, ‘You can do it. You can pause Netflix, and come back to it, but you should see this in a theater.’”
Stone chimed in, laughing: “He said it! He said the controversial thing!”
From ‘Save the Green Planet’ to ‘Bugonia’
“Bugonia” is based on a 2003 Korean movie called “Save the Green Planet!” which also blended elements of science fiction and black comedy in its satirical meditation on truth and corporate misdeeds. It was the era of the coronavirus lockdowns when the idea of making an English-language version took hold, with screenwriter Will Tracy (“Succession,” “The Menu”) behind the adaptation. In Tracy’s script, the setting would switch to the U.S. and the CEO would become a woman.
“Sometimes you make these big decisions like that and it’s not like there’s a lot of premeditation about why and gender politics and any of it,” Tracy said. “It just seemed interesting.”
The gender switch had been made before Lanthimos came on board three years ago, but it was the kind of choice that opened up a door for him to call one of his favorites: Stone.
“So much about the story was intriguing,” Stone said. “This sort of tightrope walk of what she’s being accused of. The tension between her and Teddy.”
