The Big Picture

Best Picture Power Rankings, ‘Bugonia,’ and the New Paranoid Thriller, With Yorgos Lanthimos!

October 31, 2025

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  • The hosts prioritized updating their Best Picture Power Rankings before diving into the main discussion of *Bugonia* to avoid spoiling the film for listeners. 
  • The consensus on *Bugonia* is that it represents the hosts' preferred, bleaker 'flavor' of Yorgos Lanthimos's work, featuring sincere and sympathetic performances from Emma Stone and Jesse Plemons. 
  • The film is being categorized as a new type of paranoid thriller that reflects contemporary societal anxieties about communication breakdown and powerlessness, drawing parallels to 1970s thrillers but feeling more hopeless. 
  • Director Yorgos Lanthimos chose to make 'Bugonia' because the script was immediately compelling, leading him to shoot the film in VistaVision, a large format that created an interesting juxtaposition with the claustrophobic, character-focused story. 
  • The casting of the unknown, autistic actor Aiden Delbas was intentional, aiming to bring an authentic perspective to the role, and he was unfazed by the technical demands of shooting on the large VistaVision camera. 
  • The conversation suggests that the current state of cinema is defined by a greater divide, where smaller, auteur-driven films struggle for visibility unless they catch on organically, contrasting with the communal experience of theatrical viewing which Lanthimos hopes will be preserved. 

Segments

Episode Introduction and Hosts
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(00:00:09)
  • Key Takeaway: Sean Fennessey and Amanda Dobbins host The Big Picture episode focusing on Bugonia and Best Picture rankings.
  • Summary: Sean Fennessey and Amanda Dobbins introduced the episode of The Big Picture. The main topics announced were an update to the monthly Best Picture Power Rankings and a discussion of Yorgos Lanthimos’s new film, Bugonia, starring Emma Stone and Jesse Plemons. The segment also noted that Lanthimos would be a guest later in the show.
LinkedIn Ads Sponsorship Read
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(00:01:03)
  • Key Takeaway: LinkedIn Ads offers a $250 credit for a first $250 campaign using the code /thebigpicture.
  • Summary: The segment featured an advertisement for LinkedIn Ads, highlighting their ability to target decision-makers by job title, industry, company size, or skills. LinkedIn claims to generate the highest B2B return on ad spend of all online ad networks. Listeners can receive a free $250 credit for their next campaign by spending $250 on their first campaign via linkedin.com/thebigpicture.
Power Rankings Structure Decision
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(00:01:43)
  • Key Takeaway: The hosts decided to lead with the Best Picture Power Rankings to avoid spoiling Bugonia for those who hadn’t seen it.
  • Summary: Sean proposed starting the episode with the power rankings instead of the featured movie discussion. This structural change was made specifically to prevent spoilers related to Bugonia for audience members who had not yet seen the film. Amanda agreed with this consideration for the audience.
Recap of Previous Rankings
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(00:02:53)
  • Key Takeaway: The previous Best Picture Power Rankings from October 1st placed One Battle After Another at number one and Wicked for Good at number ten.
  • Summary: The hosts recapped the rankings established on the October 1st episode, noting that a month had passed. The previous list had One Battle After Another at #1, Hammond at #2, Sinners at #3, and Bugonia at #8. They confirmed that House of Dynamite is likely off the current list due to reception.
New Film Sightings Update
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(00:03:30)
  • Key Takeaway: Since the last ranking update, both hosts have seen Marty Supreme, and Amanda has seen Wake Up Dead Man.
  • Summary: The hosts updated their viewing status for films being tracked for the Best Picture race. Both have now seen Marty Supreme, and Amanda saw Wake Up Dead Man that morning. They confirmed they still have not seen Wicked for Good or Avatar Fire and Ash.
Anticipation for Bradley Cooper Film
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(00:04:03)
  • Key Takeaway: Sean expressed high excitement for an upcoming Bradley Cooper adult drama, comparing its potential tone favorably to a Jim Brooks film.
  • Summary: Sean is highly anticipating an upcoming film from Bradley Cooper, which he hopes will be a ‘good old-fashioned adult drama.’ He noted that the buzz suggests it might be good but perhaps not an Oscar contender. He is excited to see it that evening, despite concerns about its thematic similarity to Cooper’s previous directorial efforts.
Current Top Four Stability
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(00:06:42)
  • Key Takeaway: The top four films—One Battle After Another, Hammond, Sinners, and Sentimental Value—remain stable in the current rankings.
  • Summary: The hosts agreed that the top four films are holding steady, with no compelling reason to move them. They noted that Sentimental Value and It Was Just an Accident are in a holding pattern as they await wider releases. Frankenstein is noted as the fastest riser on the list, moving up to position nine.
Bugonia’s Best Picture Contention
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(00:10:46)
  • Key Takeaway: Despite its strangeness, Bugonia is currently ranked around #10 on the power rankings due to Lanthimos’s and Emma Stone’s established Academy goodwill.
  • Summary: The hosts debated whether Bugonia qualifies as a Best Picture contender, acknowledging Lanthimos’s history of nominations. They noted that many people are anticipating the film specifically because of Emma Stone’s involvement. They tentatively placed it around the tenth spot, suggesting it has a chance but is not a lock.
Avatar and Wicked Franchise Outlook
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(00:15:15)
  • Key Takeaway: The hosts debated whether the Academy would nominate both Wicked for Good and Avatar Fire and Ash, noting the typical one-franchise blockbuster slot.
  • Summary: The hosts discussed the potential for both Wicked for Good (a musical) and Avatar Fire and Ash (a spectacle) to secure nominations, though they acknowledged the Academy often favors only one major franchise film. Sean expressed surprise that others worry about Avatar, feeling its nomination is almost certain, especially with James Cameron attached.
F1 Nomination Possibility
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(00:17:34)
  • Key Takeaway: Sean argued that F1 remains a dark horse Best Picture possibility for Apple due to its craft and lack of other major studio horses.
  • Summary: Sean maintained that F1 should not be ruled out for a Best Picture nomination, noting it is Apple’s only major contender. The film boasts strong craft elements, including Hans Zimmer’s score, and is produced by Hollywood heavyweights like Jerry Bruckheimer. Its strong international performance could also sway global voters.
Bugonia Spoiler Discussion Begins
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(00:21:33)
  • Key Takeaway: Bugonia is a paranoid thriller comedy based on the South Korean film Save the Green Planet, written by Will Tracy (The Menu).
  • Summary: The hosts initiated the spoiler section for Bugonia, confirming the screenplay is by Will Tracy, who previously wrote The Menu and worked on Succession. The film’s framework involves two conspiracy-obsessed men kidnapping a pharmaceutical CEO they believe is an alien. The hosts immediately agreed they were big fans of the film.
Bugonia’s Thematic Resonance
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(00:25:56)
  • Key Takeaway: Jesse Plemons’s character, Teddy, embodies the tragic consequences of being sucked into conspiracy rabbit holes following personal pain, mapping onto modern societal issues.
  • Summary: The second viewing revealed the film’s deeper psychological layer concerning Teddy’s character, who is driven by past suffering to seek absolute truth. His character’s journey mirrors those radicalized by online echo chambers, such as QAnon or political extremism. Plemons’s sincere performance allows the audience to connect with the character despite his violent actions.
Emma Stone’s Unlikable Role
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(00:27:03)
  • Key Takeaway: Emma Stone plays a nasty, corporate CEO who embodies the chilling ineffectiveness of corporate speak, contrasting sharply with her ‘America’s sweetheart’ persona.
  • Summary: Stone’s character is a broad encapsulation of corporate greed, utilizing chillingly familiar corporate jargon that frustrates Teddy’s desire for direct dialogue. The screenwriter noted that the dialogue structure reflects real-world situations where talking replaces action. Stone is praised for undermining her likable persona, charting a course toward playing increasingly sharp and unlikable roles.
Paranoid Thriller Boomlet
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(00:38:04)
  • Key Takeaway: The recent cluster of films like Bugonia, Eddington, and One Battle After Another signals a new boomlet of paranoid thrillers reflecting current societal chaos.
  • Summary: This wave of films echoes the post-Watergate paranoia thrillers of the 1970s but feels more hopeless, reflecting contemporary feelings of powerlessness against late-stage capitalism and systemic issues. Unlike the 70s films where unlikely heroes emerged, these modern movies suggest there is no hero to solve the problems. The fact that Bugonia is a commercial release from Universal is considered audacious.
The Alien Reveal and Aftermath
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(00:44:21)
  • Key Takeaway: The film successfully misdirects the audience regarding Michelle’s alien status, leading to a genuinely funny reveal when she confirms she is an alien official.
  • Summary: Both hosts admitted to going back and forth on whether Michelle was an alien, crediting Stone’s performance and Lanthimos’s structure for the effective misdirection. The reveal that she is a high-ranking official in the Andromedan Empire was met with laughter by the hosts. The sad conclusion is that Teddy was right about the conspiracy but remains powerless against her superior intellect.
Emma Stone’s Best Actress Chances
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(00:56:03)
  • Key Takeaway: Emma Stone’s sharp, powerful delivery of the line ‘I’m a winner and you’re a loser’ suggests a nomination-worthy performance, though Academy strategy might favor her next role.
  • Summary: The hosts analyzed a specific moment where Stone’s mask drops, showing vulnerability and delivering a sharp line that suggested a Best Actress nod. However, they speculated that the Academy might be strategically cautious about nominating her immediately following her recent win for Poor Things.
Emma Stone Best Actress Chances
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(00:56:03)
  • Key Takeaway: Emma Stone’s performance in ‘Bugonia’ features a moment of power where her mask drops, delivering a sharp line, but her nomination chances might face ‘Emma Stone fatigue’ following her recent Oscar win for Poor Things.
  • Summary: A specific moment in Emma Stone’s performance, where she delivers the line, ‘I’m a winner and you’re a loser,’ is highlighted as stunning. The hosts debate whether Oscar strategic timing or recent wins might impact her Best Actress nomination chances this year. They list several other strong contenders in the Best Actress race, including Jesse Buckley and Chase Infinity.
Chase Infinity Category Placement
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(00:59:15)
  • Key Takeaway: Chase Infinity running in Best Actress, though potentially category fraud to some, is seen by others as appropriate since she is central to the film’s narrative after the prologue.
  • Summary: The hosts discuss the strategic decision for Chase Infinity to run in Best Actress, which opens up supporting slots for Tiana Taylor and Regina Hall. One host admits to not caring about category policing as much as others, focusing on the goal of winning an Oscar. They acknowledge that Infinity is excellent in the film, which is her third screen performance.
Lanthimos on Script Acquisition
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(01:02:05)
  • Key Takeaway: Yorgos Lanthimos was immediately excited by the ‘Bugonia’ screenplay because it was nearly ready to shoot, dealing with complex human nature in an entertaining and contained way, unlike previous projects requiring long development.
  • Summary: This film marks an exception in Lanthimos’s career as he received the screenplay essentially ready to go, requiring only minor adjustments to align with his vision. He was unfamiliar with the original film, Save the Green Planet, until after he and Emma Stone felt strongly about the script. He immediately sent the script to Amazon upon finishing his first read.
Formal Choices and VistaVision
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(01:07:45)
  • Key Takeaway: The decision to shoot ‘Bugonia’ entirely on VistaVision, despite the camera being huge and slow, was made to create iconic portraiture of the characters, contrasting with wider shots of impending doom.
  • Summary: Lanthimos consciously blends formal tools from previous films while adapting to the material’s needs, using restrictions to free up creativity during stressful filming. The large VistaVision camera, which was quieter than previous models, created a white noise that actors found comforting. The director enjoys mixing a conscious construct (the format) with realistic performances and environments.
Film’s Thematic Depth and Re-watchability
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(01:15:41)
  • Key Takeaway: The film’s core theme addresses the tragic consequences of modern communication failures and bubbles, where being ‘right’ does not equate to finding a solution or fixing conflict.
  • Summary: Lanthimos finds the current societal divide and technological bubbles scary because they reinforce existing ideas rather than encouraging listening to different opinions. The writer’s original intent was to explore what happens when anonymous online antagonists confront each other in person. The director prioritized making every scene compelling over engineering a major reveal, allowing audiences to form their own predictions.
Casting Aiden Delbas and Process
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(01:19:31)
  • Key Takeaway: Aiden Delbas, who is autistic, was cast after a street-casting search inspired by the script’s characterization, and he was unfazed by the intense filming environment, including the loud VistaVision camera.
  • Summary: After securing Emma Stone and Jesse Plemons, the team sought a non-professional actor, specifically looking for someone who was neurodivergent to enrich the role. An access coach, Elaine, was present to explain the process to Delbas and ensure his comfort. Lanthimos applied the same trust to Delbas’s instincts as he did to his established leads.
State of Movie Going and Last Great Film
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(01:25:39)
  • Key Takeaway: Lanthimos believes the movie industry is experiencing a greater divide where smaller films lack promotional support, but he remains hopeful the communal experience of cinema will be preserved like live concerts.
  • Summary: The decision to promote and spend money on films is made very early, disadvantaging smaller features unless they catch on without massive system support. He stresses that watching films in a cinema is a fundamentally different, communal experience that must be actively preserved for younger generations. The last great film he saw was Kelly Reichardt’s Mastermind, which he praises for its delicate yet powerful subtlety.