Dust Bunny follows ten-year-old Aurora, portrayed by Sophie Sloan, who lives with her parents in an unnamed city and becomes fixated on the strange nighttime activities of her neighbor across the hall, a hitman for hire played by Mads Mikkelsen who specializes in killing real-world targets. After witnessing what she believes to be a monster attack, Aurora becomes convinced that a creature is hiding in her apartment and that it is responsible for her family’s disappearance. When the adults around her dismiss her fears, she seeks help from her neighbor, believing he is capable of stopping what threatens her. Suspecting that Aurora’s parents may have fallen victim to enemies from his own violent past, he reluctantly becomes involved, placing both of them in the path of assassins, law enforcement, and a mysterious associate portrayed by Sigourney Weaver, forcing him to confront the growing danger surrounding the girl and the world she inhabits.
Dust Bunny is a surreal journey into the question of whether monsters are real or imagined. It marks the feature directorial debut of Bryan Fuller, best known for creating Pushing Daisies and Hannibal. Fuller is no stranger to stories that live slightly outside the norm, and that sensibility carries over here, blending heightened reality with emotional sincerity.
I generally hate comparing movies, but Dust Bunny evokes the offbeat fantasy of The City of Lost Children mixed with the crime-driven intimacy of Léon: The Professional. Fuller creates a strange but inviting world where hitmen and childhood fears coexist, and the film fully commits to that tone without apology.
Mads Mikkelsen is perfectly cast as the Intriguing Neighbor. He brings a quiet menace to the role while allowing moments of humanity to slip through, making the character feel dangerous but never one-dimensional. The action sequences are handled with confidence, and Mikkelsen’s physicality sells them effortlessly.
Sophie Sloan is excellent as Aurora, grounding the film with a performance that balances innocence and resolve. She understands the stakes of her situation and approaches the role with sincerity, never tipping into precociousness. The chemistry between Aurora and the Neighbor is a highlight, punctuated by a recurring joke in which she repeatedly corrects how he pronounces her name.
Sigourney Weaver plays Laverne, a middleman who assigns jobs for the Neighbor. Weaver brings authority and sharpness to the role, serving as a grounding presence amid the film’s heightened reality and acting as a counterbalance to Mikkelsen’s restrained performance.
Fuller has described Dust Bunny as a “family horror film,” and that description fits. There are moments of tension and danger, but the film never leans into outright terror. The action sequences are energetic and, at times, intentionally playful, but they suit the tone of the story.
Dust Bunny blends horror, action, and suspense with an unexpected amount of heart. It may not fit neatly into a single genre, but that flexibility is part of its charm, resulting in a film that feels both strange and sincere.
Dust Bunny is currently available on Electronic Sell-Through and Video on Demand.
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