This post was updated Oct. 28 at 8:37 p.m.

Editor’s note: This article contains mentions of suicide and describes scenes of violence that may be disturbing to some readers.

Warning: Spoilers ahead.

Watching “Bugonia” is like the shock of a bee sting – but powered by 400 volts of electricity.

Five-time Oscar nominee Yorgos Lanthimos’ 10th feature film – the Greek filmmaker’s adaptation of the 2003 South Korean film “Save the Green Planet!” – arrived in select theaters Oct. 24 before it expands for a wide release on Halloween. The 118-minute satirical dark comedy bridges science fiction and thriller elements in its portrayal of Michelle (Emma Stone) – CEO of biomedical company Auxolith – as she is abducted by cousin conspiracists Teddy (Jesse Plemons) and Don (Aidan Delbis), who believe she is an alien sent to destroy Earth. At times disarmingly funny and at other points, gruesomely violent, “Bugonia” is an absolute masterclass in creating and sustaining tension, meticulously layering chilling political and social commentary through each of its unexpected but impeccably executed twists and turns.

The unease of “Bugonia” is felt from its first frame, as Plemons provides a voiceover about colony collapse disorder – a concerning phenomenon that leads to the demise of bee colonies. The deceptively serene insect imagery is fitting as Teddy and Don are struggling beekeepers, and the introduction of composer Jerskin Fendrix’s spine-tingling score only hints at the menacing events to come. The film’s breakneck pace begins almost immediately as the cousins review their plan to abduct an alien, meet with her emperor and negotiate for the aliens’ departure from Earth. Their deranged obsessiveness – seen in the anxious urgency cast on Plemons’ face – propels the pair to chemically castrate themselves so they cannot be seduced by their alien prisoner.

The silence deployed during the capture of Michelle is acutely unsettling but becomes even eerier when her head is completely shaved to prevent any chance of her contacting her mothership. Locking Michelle in the basement of their rural home, Teddy and Don slather her in lotion and interrogate her about her identity. The screenplay is at its most humorous in these moments, as Michelle’s confusion and denial inadvertently enrages Teddy, but the lurking danger of her imprisonment is reinforced by an agonizing scene where she is tortured in an electric chair. Stone’s commitment to the role – from her unrelenting vulnerability on screen to her harrowing screams when out of view – is nothing short of haunting as Michelle reckons with her grim fate.

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The film only features a few flashback sequences, but they seamlessly keep the plot rolling as audiences learn that Teddy’s mother Sandy (Alicia Silverstone) was a test subject for Auxolith, who has been left in a coma by a failed treatment. Not only is Teddy motivated by his desire to save humanity from the Andromedans – the alien race he accuses Michelle of being – but his story is also driven by revenge because he considers Michelle responsible for his mother’s illness.

The second half of the film jettisons viewers from one heart-pounding catastrophe to another – so much so that clutching the armrest feels like a lifeline between gasps of horror. Michelle’s attempt to persuade Don to release her fails when he commits suicide, and Teddy bludgeons a police officer to death to keep him from finding Michelle. After Teddy accidentally kills Sandy and Michelle discovers the preserved remains of Teddy’s previous victims, she finally agrees to take him to her mothership through a portal in her office. The suspense boiling through each of these twists bubbles over when Teddy’s homemade explosive detonates and kills him, offering Michelle the chance to teleport to space – revealing herself to be the empress of the Andromedan society that Teddy suspected.

While the gore of “Bugonia” is repulsively impressive, Lanthimos’ abilities as an auteur are more so evident in its storyline. “Bugonia” might not touch the cinematic magnificence of “Poor Things,” but its thematic richness is especially thrilling through the exploration of the similarities and differences between Michelle and Teddy. Both characters act with a misguided belief that they can better the world around them – Michelle with her company’s production of rare pharmaceutical treatments, and Teddy by dismantling the alien corruption he believes is killing the planet. The film’s ability to capture both characters with empathy is beyond compelling, as viewers instinctively root for Michelle’s escape to safety before returning to pitying Teddy’s broken spirit, often in the same scene.

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Of course, these parallels between Michelle and Teddy would not be successfully rendered without the towering performances from Stone and Plemons. The latter is disturbingly sinister alongside Stone, matching the two-time Oscar winner’s fire with twisted conviction in every interaction. The supporting cast adds maximum impact, particularly the charming acting from Delbis, who owns both the film’s funniest zingers and most honest, depressing dialogue.

On another level, the allegorical sophistication of “Bugonia” is astoundingly brilliant. Teddy’s refusal to accept a logical conclusion for the death of his bees – climate change, genetic deficiencies, pesticide use – could speak to the human compulsion to find someone or something to blame for our misfortunes rather than acknowledging our own misdeeds. Conversely, Michelle’s cunning manipulation of Teddy – subverting what he believes each time he gets too close to the truth – might be a representation of how those in power are able to mislead and trick a gullible populace into complacency anytime a legitimate concern or critique is raised. The film’s complexity is beguiling as these are just two possible meanings apparent upon leaving the theater, without even starting to address Michelle’s actions after her alien identity is revealed.

Even removing the potential symbolism and philosophical questions raised by the film, “Bugonia” stands strong as a grippingly entertaining motion picture. The production design, set in modern day, is less immersive than the majestic Victorian era scenery and costumes in “Poor Things,” but it still whisks viewers to the petrifying basement with ease. More importantly, the fusion of genres and action-packed plot provide theater-goers with a risky, intelligent and challenging tale perfect for the spooky fall season. “Bugonia” represents the most mainstream Lanthimos has reached with his art so far, and it is worth celebrating that this terrifying saga does not sacrifice an ounce of the depth that made his past works so fascinating.

“Bugonia” only requires one viewing for its visceral story to remain buzzing in cinephiles’ heads for months to come.