Andrew Bonner

Andrew Bonner’s filmography reads like a weird, slightly offbeat mixtape you’d find in the backseat of someone’s car—one that’s seen better days but still slaps. The guy’s got his fingerprints all over “Bye-Child” from 2003, which, honestly, is a haunting little number about childhood innocence colliding with secrets people would rather keep buried. The whole thing unfolds in Northern Ireland, swirling around a young boy stumbling upon someone hidden away from the world, and it’s got this lingering, unsettling vibe that sneaks up on you. Not a popcorn flick, for sure, but it sticks. Jump ahead to “Frankenweenie” in 2012, and suddenly Bonner’s in Tim Burton’s sandbox. This one’s classic Burton—black-and-white, stop-motion, full of oddballs and heart. It’s about a kid who brings his dog back to life. Sounds cute, right? Well, it’s got that spooky edge, but also this sweet, clumsy love for all things weird and loyal. Bonner’s work here is like stitching together a patchwork of misfits and making you root for every one of ’em. Then there’s “Judy” from 2019, which, wow, is a whole different mood. We’re talking late-stage Judy Garland, all the glitz and the grit, the Hollywood glare and the loneliness that eats away behind curtains. Bonner’s influence is quieter here, but you feel it—the way the movie lingers on heartbreak, the way it lets Judy be both a legend and a mess. The guy’s not afraid to get his hands dirty in the emotional mud, and that’s rare. Each project has its own weird little pulse, but they’re all unmistakably alive.