| Focus Features | Release Date: October 24, 2025 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
48
Mixed:
10
Negative:
3
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Critic Reviews
The Film MavenNov 1, 2025
Yorgos Lanthimos's Bugonia is such a fresh exploration of humanity and what our future in the world is. One could say by the time it reaches its conclusion it's utterly depressing, and yet it feels so inevitable. This is a movie where you'll want to wait for others to see it so you can truly dive into its themes. Plemons is the MVP, though Delbis and Stone are also great. Another hit from Lanthimos!
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This movie offers an uncommonly pleasurable descent into hell, and for that reason, I suspect, it will elude the criticisms that have been flung at two other recent provocations, Luca Guadagnino’s “After the Hunt” and Ari Aster’s “Eddington,” both of which likewise sneered at performative politics and were attacked as noxiously reactionary.
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IONCINEMA.comOct 23, 2025
Arguably less sensational and surprisingly straightforward, it’s another expertly crafted bit of bizarre theatrics from an auteur who remains fascinated with exploring characters struggling to comprehend situations from obscured vantage points, puzzling skewed realities together often too late to avoid disaster.
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Screen RantAug 28, 2025
IndieWireAug 28, 2025
Imagine if Michael Haneke’s Funny Games were instead about a pair of lone-wolf, conservationist vigilantes trying to save the world instead of two sociopathic twinks wanting to tear it down, and you’ll have some idea of the hyper-contained, rigorously controlled torture chamber that is Yorgos Lanthimos’ Bugonia.
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The GuardianAug 28, 2025
Yorgos Lanthimos’s macabre and amusing new film has a predictably strong performance from Emma Stone, an intestine-shreddingly clamorous orchestral score from Jerskin Fendrix and, most importantly, a wonderful montage finale – but frankly it’s a very, very long run-up to that big jump.
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The TimesSep 6, 2025
Whereas Jang’s original film was driven by a funky visual inventiveness that embraced wacky comedy over repellent and snide creepiness, Lanthimos’s version merely doubles down on the filmmakers’ most annoying tendencies: obvious observations about power dynamics, ostensibly outrageous acts of violence that underline a juvenile affinity for shock humour, and an overall contemptuous view of humanity that is played for easy, repetitive yuks.
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Like Ari Aster’s Eddington earlier this year, Bugonia invites us inside the internet-poisoned imagination of a lonely male protagonist who has “done his own research”—and, as with Eddington, the result is an allegory about contemporary life that’s as nauseatingly gory as it is thuddingly obvious.
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