In Katarina Zhu’s feature debut, “Bunnylovr,” the center protagonist, Rebecca (played by Zhu), is searching for something – rather many things, whether it be companionship, friendship, or somewhere to belong. Throughout the entire film, Rebecca meets the hustle and bustle of New York, wanting to shrink inside something safe or comfortable. But even if somewhat healthy attachments exist, Rebecca is too preoccupied to recognize them. Her day job as an assistant is unfulfilling, and to get some extra cash for rent, Becca works as a camgirl online. The requests run the gamut of requesting feet pics and dancing (which Rebecca doesn’t do). One patron (Austin Amelio), in particular, wants all of her attention, even going as far as paying $500 for it. If that wasn’t enough, he sent her a gift — a white bunny, which would eventually personify the darker path they venture down together. 

“Bunnylovr” provides Rebecca with various issues she would instead run from than face head-on. She and her ex-boyfriend (Jack Kilmer) live in that in-between, so let’s still hook up, but this isn’t anything serious. It’s clear Rebecca still has feelings for him, but the feelings aren’t reciprocated. Her estranged father, William (Perry Yung,) comes back into her life, and they try to re-establish a bond. However, time is of the essence because he has a terminal disease. She has a bond with her artist best friend Bella (Rachel Sennott), who could be a bit judgy, but implores Rebecca to try to open up and live a little. But in reality, that’s something Rebecca is unable to do. Rather than being vulnerable to people who can relate and help her the most, she flows back to the cheers of usernames behind a screen. 

If there’s one aspect Zhu accurately captures, it’s the difference between how young people experience life from a digital and real-life perspective. Rebecca doesn’t have much control over what happens daily, or she would even want that responsibility. She floats through the hours, allowing things to happen to her instead of trying to change them. Regarding her camgirl job, Rebecca holds court and can fully be herself in ways the real world might deem “too much.”


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All of that changes when her “generous” client starts exhibiting behaviors that are cruel and outlandish. While the tense nature of Eli Keszler’s score would lead you to believe this unhealthy “relationship” is the apex of “Bunnylovr,” it leaves the more interesting bonds behind. We don’t get a better understanding of Rebecca and Bella’s friendship other than Bella asking Rebecca to be more present, Rebecca dismissing that, and Bella saying something sarcastic to upset her. Reforming the bond between Rebecca and William would have been better if more screentime had been devoted to further developing it. However, it is left to the wayside because “Bunnylovr” needs to service the quasi-thriller it’s trying to set up. Undoubtedly, Zhang intended to uniquely make each pillar of Rebecca’s life vital. But Bunnylovr’s main protagonist often offers no detail on what she wants for her life — outside of being at the whims of something else. There’s little to tie all of these potential lessons together that would make for a complete, cohesive character study.

At one point in the film, Bella tells Rebecca, “It’s hard to be a good friend to you.” Another moment occurs when William looks at Rebecca smiling, reminding him of her flashing the same one when she had a crush in grade school. You’d wish you’d get more of these moments from “Bunnylovr” because it hints at something deeper within this character. The conclusion hints at brighter days. However, the emotional reprieve the film wants you to resonate with is still as far away as Rebecca is from those who care about her.

 

“Bunnylovr” premiered at the 2025 Sundance Film Festival.