Dust Bunny review: A stylish film debut from a genre heavyweight

Parents check for monsters in the closet or under the bed as a formality. They want their child to feel assured there’s nothing hiding in wait — but they also know monsters don’t exist, so there’s no risk in checking. Children, on the other hand, fully believe in monsters and are genuinely scared of being eaten or taken by them. In the movies, their fears are occasionally justified. In Dust Bunny, a little girl is so sure her monster exists, she hires an assassin to kill it.

Aurora (Sophie Sloan) tries to convince the adults in her life that the monster under her bed eats anyone standing on the floor. When they don’t listen, she delivers a very solemn, “I told you so.” A curious child, she watches her Intriguing Neighbor (Mads Mikkelsen). When Aurora spies him killing a dragon in Chinatown, she decides to “procure his services.” She requests to hire him to kill the monster under her bed. An investigation of her apartment reveals Aurora’s parents met with foul play. But the neighbour believes the monsters were of the gun-toting human variety. This is a world in which both can be true.

Bryan Fuller creates acclaimed television series, but this is his first time writing and directing a feature-length film. His debut picture is still a little episodic with key breaks in the narrative. But what is a movie if not a series of chapters strung together to make the whole. Fuller brings his unique storytelling vision to the big screen in a fantastic tale starring his Hannibal collaborator. Mikkelsen clearly trusts Fuller and gives himself over to the strange script. This isn’t the middle-aged foray into action heroism that his colleagues have taken, but there is some fight choreography required.

The surreal film transports audiences into a world where anything is possible. It’s wonderfully vibrant, selecting colours and patterns that leap off the screen. The aesthetic is similar to filmmaker Wes Anderson’s visually rich style, but Fuller uses it to blend fantasy and horror. Aurora’s innocence is visible in the set and costume design, which include mini hippos, a fitted bear costume and lots of pink. There’s a sense of artificiality in the girl’s life. In contrast, the darkness brings the grim reality of monsters and trained killers.

The floor — or more precisely, what lives under the floorboards — is the enemy. Combined with the visual effects, the framing does an excellent job of making the ground feel unsafe. The monster is both whimsical and frightening, benignly fluffy but with lots of sharp teeth. It’s oversized yet proportionate body is akin to what a child would imagine such a creature would look like.

Everything about the film’s appearance is the opposite of minimal. From the grandeur of the restaurants the characters frequent to the ornate home décor, the film strives for and achieves a fanciful sense of style. When Aurora emerges from a night of hiding beneath her covers, the aesthetic’s dreamlike quality inspires questions of whether she may still be asleep.

This eccentric world is populated by wonderful actors, all of whom are led by the young Sloan. Her line delivery is often pragmatic, though she clearly harbours a child’s longing for a guardian. She appears to suppress her emotions in an effort to make the adults that surround her take her more seriously. She’s also mirroring her neighbour’s uniform approach to things. As both characters avoid their feelings, they express their growing friendship through small gestures, like holding hands when leaving a restaurant.

The supporting cast, which includes Sigourney Weaver, Sheila Atim, Rebecca Henderson and David Dastmalchian, bring a variety of emotion to the film, though much of their performances are also restrained. They expand the story world in spite of most scenes taking place in the old school apartment building. They also give the monster a chance to shine, while bringing humour to their implausible situation.

Fuller is a creative force, but his feature directorial debut shows his ingenuity extends beyond the page. His work on the small screen is extensive, but hopefully this film lays the groundwork for establishing a signature style we’ll see more of in the future.

Director: Bryan Fuller
Starring: Mads Mikkelsen, Sophie Sloan and Sheila Atim