For years, Bryan Fuller has created and written TV shows that balance whimsy with darkness, making a name for himself with such shows as Dead Like Me, Pushing Daisies, and Hannibal. Despite not directing the aforementioned shows, Fuller’s most iconic TV work had a very distinct look to them, shows with a specific style and vibe that at times almost made him like a more optimistic Tim Burton or Jean-Pierre Jeunet. Given his penchant for crafting worlds that stand out visually and thematically, it only makes sense that he would finally make his directorial debut with Dust Bunny. The work of Jeunet certainly comes across in Fuller’s first film, and it makes sense, considering Fuller has stated that Amélie is his favorite film. As a debut, Fuller is right in his wheelhouse with Dust Bunny, from the idiosyncratic look and style, which evokes a darker fairy tale, to the casting of his Hannibal star Mads Mikkelsen as one of the main characters. Dust Bunny is exactly what one would expect from Fuller making the leap to feature films, and that’s a good thing.
What Is ‘Dust Bunny’ About?

Aurora (Sophie Sloan) is an eight-year-old girl who believes her foster family has been eaten by a monster under the bed. It doesn’t seem to be much of a loss to her, as they weren’t too nice to her anyway; if anything, it just confirms her worst nighttime fears. If she touches the ground at night, the floorboards will open up, and she’ll be the monster’s next victim. But one night, Aurora follows her neighbor at her apartment building, a man known only as Resident 5B (Mikkelsen), and believes she sees him fighting and killing a dragon. In reality, Resident 5B is a hitman who just killed a bunch of guys in Chinatown, and Aurora only sees the shadows of the fight. Aurora comes up with an idea to hire Resident 5B to kill the monster under her bed. Understandably thinking it’s a ridiculous assignment, Resident 5B still agrees, and the two team up to figure out what the hell is going on in Aurora’s apartment, if there really is a monsters under her bed, or if something more sinister is going on.
‘Dust Bunny’ Finds Fuller Making a Dark Fairy Tale That Pulls Back on His Use of Dialogue

Bryan Fuller at TIFF 2025 for Dust Bunny
Image via Photagonist

With Dust Bunny, Fuller crafts a world that’s like a mixture of Amélie and a darker version of Pushing Daisies, a fantastical world that feels grounded in reality but clearly heightened. It’s the sort of universe where it’s entirely possible that a monster under a kid’s basement could be very real, and Fuller’s tone right from the beginning makes this idea work completely. It’s this style that makes Dust Bunny fit right in with all manner of darker children’s stories that dig into more difficult themes, like Matilda, A Little Princess, or even something more mature-leaning like Guillermo del Toro’s Pan’s Labyrinth. While Dust Bunny is certainly more for older kids, this fits right in with these types of films that often become favorites of both kids and adults alike. But this isn’t simply Fuller resting on his laurels and doing what he’s done before, just in a feature format. Fuller’s work has quite often leaned very heavily on dialogue, from the many conversations had between Hannibal Lecter and Will Graham to the many character monologues of American Gods. Yet here, Fuller doesn’t rely as much on the written word. In fact, in the first act of Dust Bunny, it would be easy to think that Fuller may be going to tell this story almost without any dialogue. As Aurora follows Resident 5B around, the dialogue is extremely minimal, and we get everything we need about these characters from how they interact with this world. Even once Aurora and Resident 5B start working together, they’re mostly existing together quietly. It’s interesting to see a filmmaker like Fuller get behind the camera, instead of solely working on the page, and show that he can tell his stories visually, rather than having them spoken to us.
Mads Mikkelsen and Sophie Sloan Are the Heart of ‘Dust Bunny’

Sigourney Weaver and Bryan Fuller at TIFF 2025 for Dust Bunny
Image via Photagonist

Yet what makes Dust Bunny work so well isn’t Fuller’s great use of his style, or his attempt to pull back on dialogue; it’s the dynamic between Mikkelsen and Sloan. We’ve seen this type of relationship many times before, and it does at times come off as a less creepy version of Léon: The Professional (with potential monsters), but these two together are a lovely combo, and the way they trust each other makes this story really come together. Resident 5B’s trust in Aurora over time makes us understand why he could believe that there actually could be a monster under her bed, while Aurora finds in Resident 5B the type of parental figure that she’s always wanted — albeit one who is a murderer. Fuller keeps to this main duo almost exclusively, but he also includes some fun supporting characters used sparingly. Sigourney Weaver is clearly having a blast as Resident 5B’s boss, who gets to be spectacularly mean and enjoys an absurd action moment of her own. David Dastmalchian is always a welcome addition, and he’s a delight here, as another assassin called in to help clean up Resident 5B’s messes. But the big surprise here is Sheila Atim, who is also shrouded in mystery, but who opens up the dynamic of Aurora and Resident 5B in interesting ways. While other characters add to this key bond, Atim’s character pops in and is a great addition to this duo. This entire cast is quite charming, but they only get better as the film starts to reveal itself and we learn the truth about what’s going on in Aurora’s apartment. After nearly 30 years in the entertainment industry, it is great to see what Fuller is like behind the camera with a feature of his own. The result is a film that’s both an assassin story, and a movie that feels tame enough for kids, which is a perfect fit for Fuller’s aesthetic. With a flair for the surreal and fantastical, it’s easy to see how Fuller’s feature debut could become a cult favorite just like his shows have. Dust Buny comes to theaters on December 5.