The question of what makes us human has become increasingly pertinent as artificial intelligence plays a larger role in society. This question should have been the focus of Taika Waititi’s “Klara and the Sun.”
Adapted from Nobel Prize-winning author Kazuo Ishiguro’s novel of the same name, the movie follows Klara, played by Jenna Ortega (“Wednesday”), an artificial friend purchased to companion Josie, played by Mia Tharia (“The Listeners”). Klara develops a close relationship with Josie, a teenager whose terminal illness and strained relationship with her mother, Chrissie, played by Amy Adams (“Enchanted”), leave her future uncertain.
The premise promises a thoughtful examination of technology and humanity, specifically the bleakness of future human connection. However, under Waititi’s direction, this possibility is squandered. Instead, the film offers an unclear message and stance on AI, completely disconnected from the novel’s original themes.
Ortega’s Klara is childish, quirky and lovable, resembling a regular teenage girl. Upon first look, there are no distinguishable characteristics that differentiate her from a human, which proves further indistinguishable through Waititi’s refusal to explore her artificial or technological aspects. Waititi emphasizes sentimentality and sympathy for Klara’s feelings, but how Klara, a robot, feels emotions remains unanswered.
Adams and Tharia’s characters are additionally underwritten. The movie’s depiction of the overbearing mother and angsty teen feels incredibly one-note and adds nothing new or unique to the story. The film’s only comedic relief comes from New Zealand actress Rachel House (“Hunt for the Wilderpeople”), who plays Melania, Josie and Chrissie’s housekeeper. Her character and comedic retorts to Klara’s clumsiness remain the only semblance of Waititi’s signature comedy style.
Strangely, if failing to convey technological themes wasn’t enough, the movie attempts to convey religious themes and imagery. Klara, the solar-powered robot, worships the sun as a deity, believing it gives her the power to love and protect others. Once Klara discovers the sun is in fact not a deity, she goes into crisis. However, this crisis goes nowhere and calls into question Klara’s supposed intelligence as a robot.
A rare highlight of the movie exists in its score. Composed by Michael Giacchino (“Up” and “The Batman”), the music provides personality and melodrama the screenplay fails to sustain.
The execution of “Klara and the Sun” proves exceptionally shallow and far from entertaining, even with its failed themes. The movie’s message is so unpolished and confusing that you can’t pin down its motive. The film fails to take a clear stance on AI and robot sentience.
1 sun out of 5
