Bryan Fuller’s “Dust Bunny” Delivers Stylized Thrills, Despite Shallow Depths
A dark fairy tale from the creator of “Hannibal” and “Pushing Daisies,” Dust Bunny, arriving in wide release Friday, December 12, earns Bryan Fuller an Independent Spirit Award nomination for his directorial debut. The film, starring Mads Mikkelsen and Sophie Sloan, presents a visually arresting, if somewhat underdeveloped, exploration of childhood trauma and the monsters we create – and hire to defeat.
Fuller, a television veteran of nearly three decades with credits including “Dead Like Me” and “American Gods,” brings his signature flair for extending idioms to their extreme to the world of indie film. As one critic noted, Dust Bunny asks a delightfully outlandish question: what if a child hired an assassin to eliminate the monster under her bed?
The story centers on Aurora (Sloan), a young girl haunted by roaring and screaming sounds in the night, convinced a ravenous “dust bunny” has consumed her parents. She enlists the help of an “intriguing neighbor” (Mikkelsen), a figure she’s witnessed dispatching fantastical creatures in the alleyway, offering payment pilfered from a church collection plate.
Initially, the film feels deliberately paced, “skittering across its densely designed surface with very little dialogue,” according to a recent review. However, the narrative gradually expands, revealing a larger, “Wickian world of killers” through the introduction of the Intriguing Neighbor’s handler, Laverne, played with gusto by Sigourney Weaver. Weaver’s performance is described as consuming, mirroring the monster bunny’s literal chomping through floorboards – and charcuterie, dumplings, and “suckling pig tea sandwiches.”
Dust Bunny draws clear parallels to films like “Léon: The Professional” and “Amélie,” the latter being one of Fuller’s personal favorites. However, the film’s highly stylized and mannered approach may not resonate with all viewers. “If you don’t buy in on the film’s arch humor and stylized world, you’re liable to bounce right off of it,” one observer cautioned.
As the plot unfolds, introducing an FBI agent (Sheila Atim) and additional antagonists (David Dastmalchian, Rebecca Henderson), the story moves beyond its initial metaphor of childhood trauma. Yet, the narrative ultimately feels somewhat thin, lacking the depth to fully realize its potential. Fuller’s visual command is undeniable, showcased through the opulent production design by Jeremy Reed and the lush cinematography of Nicole Hirsch Whitaker, but the allegory feels “muddled.”
Despite the strong performances from Sloan and Mikkelsen, there’s a sense that the actors could have explored their characters more fully. The limitations of the story may also reflect budgetary constraints, cleverly masked by the film’s lavish aesthetic. Ultimately, Dust Bunny feels like a first feature – a surprising venture for such an experienced creator – that showcases Fuller’s distinctive style, even if it doesn’t fully coalesce into a satisfying whole. It’s a “neat kiddie-centric hard-R genre exercise” that leaves the audience wanting more.
Dust Bunny is rated R for some violence and runs for 1 hour and 46 minutes.
