CAPSULE: DUST BUNNY (2025)

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DIRECTED BY: Bryan Fuller

FEATURING: , Sophie Sloan, Sheila Atim, Sigourney Weaver

PLOT: An orphan girl hires a middle-aged killer-for-hire to kill the monster living under her bed.

Still from Dust Bunny (2025)

COMMENTS: Bryan Fuller has established himself as a unique voice and a major name in the entertainment industry , producing and writing a variety of TV shows both based on well-known franchises (“Star Trek: Discovery”) and more personal in tone (“Pushing Daisies,” “Wonderfalls”). The latter category is the perfect showcase for his idiosyncratic vision combining the playful and macabre.

In Fuller’s debut as a feature film director, this combination is apparent in the relationship between the two protagonists. Mikkelsen plays a hardened and cynical hit man, an anti-hero bringing to mind his leading role in Fuller’s iconic show “Hannibal.” Sophie Sloan, in contrast, plays Aurora, a young girl tormented by the monster lurking under her bed. These two couldn’t seem more different, but those differences are what makes them perfect complements.

Fuller establishes the connection between the girl and the killer early on in a purely visual way, without dialogue or unnecessary exposition, just with a firefly leading the viewers’ gaze. The characters’ eyes intersect; they are neighbors in the same apartment building. And when a “dust bunny”—our tale’s monster—devours the girl’s parents, she doesn’t hesitate to ask her intriguing neighbor for help. Gradually, a connection blossoms between them, notably similar to the central dynamic in ‘s Léon: The Professional.

Not everything is as it looks. A  game of unreliable narrators and deceptive POVs takes place, blurring what is real and what is pure imagination—at least for a while. Dim lighting and foggy environments create a sense of ambiguity, enhancing an already hypnotic atmosphere.

Dust Bunny is uninterested in maintaining this uncertainty for long, however, especially in regards to the nature of the monster. The special effects used for the creature haunting the girl lose their subtlety in the second half of the narrative, dramatically degrading the horror aspect. Instead, it remains a character-driven drama with action elements and hints of the supernatural. There is an attempt at commentary about the monsters in ourselves, but it seems like an afterthought. Some twists will make for an entertaining ride, for sure, but not enough for a truly memorable experience. In the end, Dust Bunny is too much style and not enough substance.

WHAT THE CRITICS SAY:

Strange, bizarre, and terrifically weird, writer/director Bryan Fuller’s ambitious ‘Dust Bunny’ should whet the appetite of fantasy fans hungry for a mature fairy tale… [the] script is like a Lewis Carroll fever dream. The peculiar setting teases a sweet children’s story akin to ‘Alice’s Adventures in Wonderland,’ but Fuller embraces the darkness.”–Jonathan Hickman, The Newnan Times-Herald (contemporaneous)

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POD 366, EP. 167: PAUL BUNNELL AND FRIENDS OFFER “A BLIND BARGAIN”

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Discussed in this episode:

A Blind Bargain (2025): Read Pete Trbovich’s review. We talk to director and actors Jed Rowen and Claudia MacLeod about their led mad scientist flick, a reimagining of a lost silent. Free tickets are available (in limited amounts per theater) from the official site.

Alice in Wonderland (1951): Read Gregory J. Smalley’s review.  As they periodically do when new formats roll around, Disney upgrades their take on Lewis Carroll’s nonsense classic to 4K UHD disc (standard Blu-ray included). Buy Alice in Wonderland.

Black Rabbit, White Rabbit (2025): Multiple storylines converge in this “surreal” Tajikistan-based film about the making of a film.  In theaters in Los Angeles this week, with a few additional screenings throughout the late spring and early summer and a Deaf Crocodile Blu-ray coming before the year is over. Black Rabbit, White Rabbit official site.

Buffet Infinity (2025): Read Giles Edwards’ Apocrypha Candidate review. Your chance to feast on this buffet of 90s cable weirdness arrives on VOD today. Catch it, then catch our interview with director Simon Glassman afterwards. Buy or rent Buffet Infinity.

The Devils (1971) restoration: Read the Canonically Weird entry! Multiple outlets reported this news; ‘s medieval witchcraft-hysteria outrage The Devils has been restored in 4K, and will screen at Cannes this month and in US theaters (presumably for one night only) on October 16. Some of this is just speculation, but the official Instagram page of Warner Brothers’ Clockwork subsidiary included artwork from the infamous “rape of Christ” scenes, so I think we can safely expect this to be the full, uncut version.

Exit 8 (2025): Read Michael Diamades’ review. The Japanese liminal video-game adaptation is now available on VOD. Buy or rent Exit 8.

OBEX (2025): Read Giles Edwards’ Apocrypha Candidate review. Albert Birney‘s latest, about a nerd trying to rescue his dog from a demon in a virtual worlds, is a weird throwback to early computer adventure/role playing games. This Blu-ray includes director’s commentary, deleted scenes, and 4 Birney shorts, among other extra features. Buy OBEX.

Touch Me (2025): Ejected from their apartments, two roommates find shelter with a mysterious man whose touch is literally addictive. Now on VOD. Buy or rent Touch Me on VOD.

White Zombie (1932): Read Gregory J. Smalley’s review. The atmospheric public domain zombie classic gets a restoration, so it looks like it should. Buy White Zombie.

WHAT’S IN THE PIPELINE: 

No guest scheduled on next week’s Pod 366 (but then again, our last couple of guests popped up with less than a week’s notice). I written reviews, Michael Diamades hunts down Dust Bunny (2026), Shane Wilson decides whether reader-suggest British biographical comedy The Great McGonnagall (1974) lives up to its title, Pete Trbovich returns to his “Pete’s Perverted Pix” miniseries as he rents his own Secretary (2002), and Gregory J. Smalley chews on Endless Cookie (2025). Onward and weirdward!

68*. DREAMS THAT MONEY CAN BUY (1947)

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“Ernst was obviously an astute observer of what qualities go into making an experience oneiric.”—Deirdre Barrett, IASD president

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DIRECTED BY:

FEATURING: Jack Bittner

PLOT: Fresh from the bank and owing cash, Joe needs to get some money—fast. A solution hits him for quick green, and soon he’s selling people dreams. Most come to buy (one comes to sell), but the ephemeral business ain’t all swell.

Still from "dreams that money can buy" (1949)

BACKGROUND:

  • One loft apartment, $25,000 (partly supplied by Peggy Guggenheim), three years of filming, and the involvement of some of the contemporary art-world’s heaviest hitters is all it took to create Dreams That Money Can Buy.
  • The film won of the Venice Film Festival’s special award for “Best Original Contribution to the Progress of Cinematography”.
  • At its New York City premiere, Dreams was projected on wall and ceiling of the venue, instead of the screen.
  • , aged 19 at the time, shows up as an extra, securing his place amongst the cool kids of cinema five years before his directorial debut.

INDELIBLE IMAGE: In a feature-length showcase from the avant-garde’s best, choosing just one is an odd request. G. Smalley suggests the scene from Max Ernst’s “Desire” where an elderly butler (Ernst himself) pulls first a shirtless man, then a pallid, corpselike woman in a nightgown out from under the sleeper’s red-velvet curtained canopy bed. It helps that the room is filled with smoke (possibly from an incinerated telephone) and that the sound accompaniment is a trancelike looped recording of men and women chanting backwards.

TWO WEIRD THINGS: Bouncy beatnik narrator; escaping out the window with Zeus-bust luggage into death color-drop explosion

WHAT MAKES IT WEIRD: This dream anthology has pep, humor, surrealism, and cool to spare, all presented in the confines of a brownstone apartment.

Promo trailer for a London screening of Dreams that Money Can Buy (1947)

COMMENTS: It is the intersection of Capitalism and Surrealism. It is Continue reading 68*. DREAMS THAT MONEY CAN BUY (1947)

APOCRYPHA CANDIDATE: HAIR HIGH (2004)

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DIRECTED BY:

FEATURING: Voices of Eric Gilliland, Sarah Silverman,

PLOT: A middle-aged bartender recounts a tragic tale of doomed love to a young couple.

Still from "Hair High" (2004)

WHY IT MIGHT JOIN THE APOCRYPHA: Plympton’s trademark animation style, verging on surrealism, meets a personal take on familiar rom-com and high school drama tropes.

COMMENTS: Bill Plympton is a major name in American adult animation today, especially for those preferring the offbeat and the bizarre. His raw and expressive style, full of crude jokes and grotesque yet hilarious visual gags, balances gross-out humor with a lighthearted and wholesome tone. Nowhere is that blend more apparent than in High Hair, a unique take on high school rom-coms with a esque twist.

A barman recounts the tale of Cherry and Stud and their unexpected, passionate love affair to two young students. We trace the teen drama tropes from the beginning: Cherry is the popular girl, and Stud is a nerdy, friendless loser. Cherry already has a boyfriend, the muscular Rod, another reason Stud shouldn’t have a chance with her in real life. However, when Rod “punishes” Stud by forcing him to become Cherry’s slave, something sweet and slightly kinky blossoms between them.

A love affair starting as a power game or a conflict is another well-worn trope of romantic comedies. But Plympton’s approach offers something different than what you’d might expect. The first half of the movie is full of crude, if admittedly inventive, jokes. Disturbing imagery is played for laughs, with even a hint of animated body horror. Gradually, a sweet love affair blooms, one that, surprisingly, doesn’t feel uneven or forced at all. The second half of the film follows Cherry and Stud falling in love, until a final twist combines the dark and macabre with an unexpected, yet not unwelcome, dose of tenderness.

Among the visual gags of special note—and there are many—are jokes about the characters’ hairstyles.  As the title hints, hair is a rich symbol in this movie. Follicles can express femininity or masculinity, and even take the form of a phallic symbol. Here, hair indicates hierarchy and social status.

All in all, this is a whimsical film, a perfect date movie for weirdos. Those who aren’t turned off by some bad-taste humor will be rewarded with a touching narrative. Behind the weirdness and grotesquerie beats a heart.

Hair High [Blu-ray]

  • Acclaimed animator Bill Plympton’s (THE TUNE, MUTANT ALIENS) cheerfully unhinged tribute to 1950s teen romance and musicals like GREASE and HAIRSPRAY

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