As children, we all had fears, either based on real experiences or conjured simply by our imagination. The feeling of being a child and looking too closely under your bed is hard to remember and even harder to replicate. Luckily, Bryan Fuller has arrived at Midnight Madness with his directorial debut, which captures exactly what it is like to have a monster under your bed as a child. In Dust Bunny, which premiered at TIFF 2025’s Midnight Madness, a young girl (Sophie Sloan) recruits a hitman (Mads Mikkelsen) to kill the monster residing under her bed.

From the first shot of Dust Bunny, I knew I was in for something special. Fuller crafts a deeply intricate and fantastical world with no limits. The color grading and production design reminded me of Tim Burton’s golden era, but less gothic and more enchantingly childlike. This is not limited to technical aspects, as the script, costume design, and editing all contribute to the whimsical world Fuller introduces us to. 

There is a chicken lamp that makes an appearance in Mikkelsen’s character’s apartment that will surely become iconic for its goofy, peculiar nature. Details in the production design and a distinct color palette are what make this film a delight to observe as it plays out.

As unusual as Dust Bunny’s setting is for a horror film, it still takes the time to be frightening in all the right places. While this is about as scary as a Goosebumps novel, that is still a considerable number of frightening moments. Things go bump in the night, and dark corners are filled with mystery in a more childlike way than a more adult-oriented horror film. This contributes to the film’s childlike energy and could honestly be a great gateway film for younger audiences wanting to get more into horror.

Sloan holds her own against an Oscar-nominated actor and maintains her intelligence and personality throughout. We see the world through Aurora’s (Sloan) eyes, and her curiosity is what drives the plot forward to her meeting with Mikkelsen, who is only credited as “Intriguing Neighbor.” The two have incredible chemistry with one another, which is elevated by Fuller’s direction as the two bounce off of each other. 

Fuller explores themes of childhood trauma and communing with one’s own childhood through the monster that Aurora intends to rid herself of, which can be reminiscent for both children and adults alike. I found myself reminded of the way I felt as a child, believing that I had to be constantly worried about quicksand and lava, despite being nowhere near that at all. The essence of imagination and childhood is present within Fuller’s film and allows the audience to empathize with both Mikkelsen and Sloan’s characters. 

Dust Bunny is adorably terrifying. Its distinct visual style stands out against the other Midnight Madness films at TIFF 2025, and Fuller’s eccentric direction, combined with Sloan’s and Mikkelsen’s performances, make it one of the most charming films of the program and the festival.


Review Courtesy of Nadia Arain

Feature Image Courtesy of TIFF