Imagine a film that blends the eerie hum of a bee colony with the claustrophobic tension of a basement kidnapping, all captured through the lens of a groundbreaking cinematographer. That’s the world of Bugonia, the latest collaboration between cinematographer Robbie Ryan and director Yorgos Lanthimos—a project that’s as technically audacious as it is unsettlingly surreal. But here’s where it gets controversial: in their quest for visual perfection, they embraced the imperfections of analog filmmaking, turning technical challenges into artistic triumphs. And this is the part most people miss: the film’s haunting metaphor of control, symbolized by a hive of bees, mirrors the psychological ordeal of its protagonist, Michelle (Emma Stone), a pharma CEO abducted by two men convinced she’s an alien.
From the outset, Ryan and Lanthimos were determined to push the boundaries of large-format film. They opted for VistaVision cameras—specifically the Wilcam W11 and Beaucam—paired with prototype lenses developed by Dan Sasaki, affectionately dubbed ‘GW lenses’ in honor of the legendary Gordon Willis. This setup delivered breathtaking resolution and texture but also introduced unexpected hurdles. ‘The camera feeds the film horizontally through the gate,’ Ryan explained, ‘which led to camera jams we hadn’t anticipated. But we leaned into it—those imperfections became part of the film’s unique look.’
Lanthimos’ signature style is on full display here, with his trademark low-angle framing creating a subtly distorted perspective that keeps viewers perpetually off-kilter. ‘If a shot is at normal height, Yorgos will say, ‘What’s this all about? This is horrible,’ Ryan joked in an Inside the Frame interview with Variety. Movement, too, is meticulously choreographed. ‘Yorgos’ philosophy is simple: if someone’s moving, the camera moves; if they stop, you stop. The timing has to be precise.’
One of the film’s most memorable sequences—the early kidnapping scene—exemplifies this precision. Shot during the first days of production, the scene was captured using cameras mounted on the bonnet of a G-Wagon, adding to the chaotic energy as Michelle fights back against her captors. Despite technical challenges (‘speed bumps made the camera shake and jam,’ Ryan admitted), the sequence perfectly encapsulates Lanthimos’ blend of absurdity and tension. Ryan describes it as ‘observational,’ filmed largely in wide shots to let the awkward clumsiness of the attack unfold in real time.
Lighting, as is typical for Lanthimos, leaned heavily on natural sources. ‘He avoids film lighting whenever possible,’ Ryan noted, though he confessed to sneaking in a small light for a car shot to ensure Emma Stone’s face wasn’t obscured by reflections. ‘He probably would’ve given me a hard time for that,’ Ryan added with a grin.
Perhaps the most striking shot in the kidnapping scene—filmed through the glass of Michelle’s modern home and across her indoor pool—was born from improvisation. A crane setup originally intended for a cut scene became a new vantage point. ‘Yorgos just said, ‘Why don’t we try the attack from inside over the pool?’ Ryan recalled. The result is a quietly surreal image that perfectly captures the film’s tone: brutal yet darkly comedic.
In Bugonia, the imperfections of vintage cameras, the precision of Lanthimos’ direction, and Ryan’s intuitive camera work merge into something entirely unique. ‘Working with Yorgos, I feel like an audience member,’ Ryan reflected. ‘I never know what’s coming next.’
But here’s the question that lingers: Is Bugonia a masterpiece of technical innovation, or does its reliance on analog imperfections risk alienating mainstream audiences? Let us know what you think in the comments—this is one debate that’s sure to buzz long after the credits roll.
