Atrapando a un monstruo
Directed by Bryan FullerUna niña de ocho años le pide ayuda a su insidiosa vecina en su misión para matar al monstruo que vive debajo de su cama, el cual, según ella, devoró a su familia.
- Shaydeknight13 de enero de 2026Dust Bunny is a strange, moody little film that sits comfortably in the lineage of stories centred on children living through dreamscapes. It's tempting to compare it to films like The City of Lost Children, Pan's Labyrinth, and, more faintly, Hugo or Inkheart. After all, it it's a film that prioritizes atmosphere above all else, and on that front it often succeeds. The colour palette is rich, the costumes and sets are lovingly designed, and the staging feels deliberate and theatrical. Every frame looks considered, even when the narrative itself feels elusive. It seems as if Bryan Fuller is trying to stand in Wes Anderson's shoes while he's doing a remake of Leon, the Professional. The cast is uniformly strong. Mads Mikkelsen, Sigourney Weaver, and David Dastmalchian all deliver performances that lean into the film's surreal, half-dream logic. Their work is restrained, distant, and eerie, which clearly aligns with the director's intent. Sheila Atim is also notably effective here, far better used than she was in the unfortunate misfire that was The Woman King. Still, the real standout is Sophie Sloan. As the young lead, she carries the film with remarkable confidence and emotional intelligence, grounding the abstraction with a genuine presence that never feels forced or precocious. Where Dust Bunny falters is in Fuller's over-reliance on mood and suggestion. The dialogue is so sparse and contained that it actively undermines any sense of connection between the characters. Mystery curdles into detachment, and emotional beats arrive muted when they should resonate. The CGI does not help matters, often looking unfinished and breaking the spell rather than enhancing it. The overall effect is that of a promising idea pulled from the oven too early. The shape is there, the intention is clear, but it is not fully cooked. The toothpick does not come out clean. Also, I didn't care for the aspect ratio of the film. It's shot at 3:1 (ultra-widescreen). I couldn't watch it on my TV, I had to see it on my monitor, which, as fortune would have it, is an ultra-wide. The choice to film at that size is an odd one. The image feels constrained, flattened, and directional, which mirrors the subject matter, and that may be the point. But in my opinion, a ratio like 3:1 makes immersion in a conventional cinematic manner a challenge for the spectator. It keeps the viewer slightly detached, always aware of composition. Now, when a formal choice like that fails to justify itself emotionally or intellectually for the viewer, it stops being expressive and starts being an obstacle. Which is precisely what occurred. Even so, I found the film fairly entertaining. Its ambition and aesthetic commitment carry it a long way, and there is enough imagination on display to make it worth the time, even if it ultimately feels like it's less than a full triumph.
- Patrick Wai30 de abril de 2026This feels like Wes Anderson after a fever dream and a minor spiritual crisis, and I mean that as a huge compliment. It’s a masterpiece: beautifully shot, full of gorgeous sets, clever shadows, candy-box colors, and the kind of visual confidence that makes half the dialogue unnecessary anyway. Mads Mikkelsen is fantastic as the neighbor, Sophie Sloan is astonishing as Aurora, and the two of them have the kind of chemistry that makes the whole movie hum even when almost nobody is talking. Sigourney Weaver also gets to be wonderfully strange and sharp here, which was a treat. The movie is funny, crazy, emotional, vaguely action-y, quasi-fantastical, not really horror, and somehow still coherent in its own beautifully unhinged way. It’s overflowing with imagery, themes, and “what did I just watch?” moments, but in the best possible sense. Highly recommended, and one of those rare films that feels both over the top and weirdly delicate at the same time.
- Dale Leer31 de enero de 2026Dust Bunny plays like a bedtime story that went feral, dark, dry, and just twisted enough to make you laugh at the worst possible moments. The movie keeps tossing you between possibilities: is there actually something lurking under the bed, or is the real danger the assassins hunting her for being a witness to her hit‑man neighbours work? He’s convinced his enemies are the ones who killed the girl’s parents, so he’s in full guilty protector mode, guarding her from… well, something. Whether that “something” has teeth or a gun is part of the fun. By the end, the film does give you an answer, but it never spoils the ride by tipping its hand early. You’re left piecing things together while the tension builds, wondering which nightmare, monster or hit squad, is actually waiting in the dark. It’s moody, sharp, and the kind of story that makes you eye both the shadows and your neighbours a little differently afterward.
- chugs rodriguez7 de abril de 2026A deeply stylised film shot in a 3.00:1 ratio it pays homage to Wes Anderson, Kill Bill and The Professional. A deeply personal film with a subtext of how ones monsters follow you, even when your change family, and how monsters are everywhere in our lives. A great film. Worth watching if you have doubts and are flicking around for something to watch, especially if you like Wes Anderson films.
- Tyler Campbell22 de marzo de 2026Dust Bunny follows a little girl and her hitman neighbor as she tries to convince him to kill the monster under her bed that ate her parents. Our hitman neighbor kills monsters for a living, at least that's what the little girl imagines. As the movie progresses, it keeps you guessing about whether the monster under her bed is real or a coping mechanism for trauma and abandonment. Dust Bunny is dark in its themes but light and fun in its delivery. The sets, characters, costumes, and cinematography are all very quirky and stylistic. Most movies like that don't speak to me, but Dust Bunny is an exception. While it's not perfect, I definitely recommend it, if you're up for a whimsical horror version of Leon The Professional.
Atrapando a un monstruo Trivia
Atrapando a un monstruo was released on 5 de diciembre de 2025.
Atrapando a un monstruo was directed by Bryan Fuller.
Atrapando a un monstruo has a runtime of 1h 45min.
Atrapando a un monstruo was produced by Bryan Fuller, Erica Lee, Basil Iwanyk.
Una niña de ocho años le pide ayuda a su insidiosa vecina en su misión para matar al monstruo que vive debajo de su cama, el cual, según ella, devoró a su familia.
The key characters in Atrapando a un monstruo are Intriguing Neighbor (Mads Mikkelsen), Aurora (Sophie Sloan), Brenda (Sheila Atim).
Atrapando a un monstruo is rated R.
Atrapando a un monstruo is a Drama, Terror, Suspense film.
Atrapando a un monstruo has an audience rating of 8.2 out of 10.
Atrapando a un monstruo has made 928 mil US$ at the box office.