Images courtesy of Sony Pictures.
There was a time when Taika Waititi was one of Hollywood’s most exciting and sought-after directors. Thanks to indie hits like What We Do in the Shadows and Hunt for the Wilderpeople, Waititi went on to inject fresh energy into the Marvel Cinematic Universe with Thor: Ragnarok. Soon after, he won an Academy Award for Best Adapted Screenplay for Jojo Rabbit. Then, his career suffered an unexpected blow after the release of Thor: Love and Thunder and Next Goal Wins, which both failed to resonate with audiences. Now, Waititi is back with an adaptation of Kazuo Ishiguro’s acclaimed novel Klara and the Sun. Can he find his groove again as a director?
Jenna Ortega, who is known for her darker roles and scream queen status, plays her chirpiest character yet as the titular robot Klara. Klara is an Artificial Friend, who spends her days in an AI store waiting to be sold and dreaming of finding a home. She is full of hope and optimism, and worships the sun as a source of life and health. However, Klara is an older model that has been discontinued, meaning she isn’t flying off the shelf. Eventually, she is purchased for a young girl named Josie (Mia Tharia) by her stern mother Chrissie (Amy Adams). Chrissie is initially wary of Klara, but Josie shares an instant connection with her and convinces her mother to bring her home. Chrissie’s other daughter has passed away and Josie is now sick, so Klara prays to the sun and does everything she can to save her new friend. At the same time, her wonder and positivity help to mend this broken family and bring light into their lives once more.
Ortega shines as radiantly as the sun Klara loves so much in this delightful performance. She brings an endearing innocence and spirit to Klara, perfectly conveying both the robotic persona and beating heart that exist within the character. For someone that isn’t human, Klara feels like the best of humanity, and it is lovely to see Ortega take on this cheerful and very funny role. It is great to see Adams back on the big screen too, who reminds us that she is still excellent as a grieving mother. Waititi manages to create a unique and unusually whimsical dystopian world with some genuinely stunning visuals and warmth in every frame that echoes its central character. However, there is something that feels a bit off about it all. The storytelling itself is quite heavy handed and emotionally manipulative to the point where it can become saccharine. The film’s comedic and dramatic tones also tend to clash and imply that the movie doesn’t quite know what it wants to be. There is one particular scene where Josie hosts a party with other kids who have been genetically enhanced like herself, undergoing a procedure called ‘lifting’ that is exclusive to the rich. The kids, who are supposed to be snobby and elitist, have characteristics that are reminiscent of a mixture between the Capitol residents in The Hunger Games and a Sacha Baron Cohen character. It is a bizarre sequence that does not fit in at all with the film and totally misuses the eccentric and offbeat humour established earlier on. Moments like these leave the film’s messaging and emotional core feeling unbalanced and unsatisfying.
Sadly, Klara and the Sun is not a return to form for Waititi. It is fun and entertaining, with a truly wonderful turn from Ortega, but fails to reach both the comedic and emotional heights of the director’s greatest hits.
Klara and the Sun is screening in cinemas now. For tickets and more information, click here.
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