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France · 2022
1h 51m
Director Jean-Pierre Jeunet
Starring Isabelle Nanty, Elsa Zylberstein, Claude Perron, Stéphane De Groodt
Genre Comedy, Science Fiction

Set in 2045, a squabbling French family becomes trapped in their retro-modern home after an AI uprising causes their loyal android assistants to lock them inside for protection. This quirky sci-fi is a thoughtful, frenetic, and funny portrait of what it means to be human.

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Paste Magazine by

If only Jeunet had instilled his story and characters with a little more of that ingenuity, then Bigbug might have been a more substantial watch.


The A.V. Club by Carlos Aguilar

Subtlety has never been one of Jeunet’s tools, and the comedy in Bigbug is enjoyably over-the-top, occasionally a bit too mannered, and often laugh-out-loud funny.


The Guardian by Charles Bramesco

With his work now migrating online and his jerry-rigged methods increasingly outsourced to post-production effects, Jeunet can’t avoid the impending digitization of cinema, nor life. Still, he’s not going down without landing a few good fingers to the ribs first.


Consequence by Clint Worthington

It’s impressive what Jeunet is able to pull off with a shoestring budget, but the ideas and characters underpinning his visual imagination leave a lot to be desired.


IndieWire by David Ehrlich

Save for dashes of Jeunet’s bespoke visual flair and an enthusiastic cast of actors whose go-for-broke performances scream for stronger material, Bigbug doesn’t resemble a late-career misstep from a beloved auteur so much as it does the product of a neural network that was simultaneously forced to binge-watch “The Terminator” and “The Dinner Game” until it spat out a shooting script.


The New York Times by Jeannette Catsoulis

Despite some snappy ideas (an aggressive advertising drone pushing products as answers to the family’s every problem), Bigbug is overdressed, overlong and diminishingly amusing


The Film Stage by Mitchell Beaupre

There’s a lot going on in Bigbug, yet at the same time it can feel like there’s too little meat on the bone here, particularly when stretched about two hours. It is nice seeing the filmmaker back behind the camera; you also can’t help the wish his return after nearly a decade had been with something more substantial.


Variety by Peter Debruge

The result is an aggressively unfunny look at human-robot relations in a garish, cartoonishly rendered future.

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