Kazuo Ishiguro is a Nobel Prize-winning author whose works have been adapted into films five times. This one is the latest adaptation, based on his eighth novel released in 2021. I haven’t read any of his books, but I’m a big fan of his previous adaptations, The Remains of the Day and Never Let Me Go.

With Klara and the Sun, Ishiguro took a subtle, melancholic, and richly layered approach to themes of loneliness and the feeling of being obsolete. From the trailer and knowing that Taika Waititi is at the helm, I expected the movie to have an upbeat and quirky vibe, reflecting his brand of whimsical humor. Set in a vague dystopian future, we get to know Klara (Jenna Ortega), an android companion known as an Artificial Friend, along with her fellow B-1 AF models at ‘The Friend Store.’ These outdated AFs have to showcase themselves in the store window, but they mostly go unnoticed as humans are drawn to the newer, shinier, and perfectly calibrated B-3 models just across the street.

Klara isn’t exactly the most polished AF. Her fellow B-1s tease her about her oddly innocent grin and her tendency to stand on one leg like a flamingo. Ortega is an inspired choice for Klara; she has a unique expressiveness, and she nails the mechanical body language and childlike quirks. Since the B-1s are solar-powered, Klara creates a belief system where she reveres the sun like humans revere God, seeing it as a magnificent, life-giving, and all-powerful entity.

Much like kids in an orphanage, Klara longs for a loving home where she can be part of a family. One day, Klara locks eyes with Josie (Mia Tharia), who takes a shine to her. Josie manages to persuade her mom, Chrissy (Amy Adams), who was set on buying a B-3 model, to choose Klara instead. Thus, Klara arrives at her new home, a spacious house in the open countryside, far removed from the bustling, polluted city.

It’s fun to see Klara adapt to her new surroundings and how the film illustrates her ‘calibrating’ with stylish visual effects. During her calibration, we see the world through her eyes, tinted with rose-colored glasses and pixelated, grid-like fragments as she learns and adjusts to her environment. Klara also faces some unfriendly humans—Chrissy remains doubtful about Josie’s decision but believes she can return Klara within 30 days, while the housekeeper Melania (Rachel House, a frequent collaborator of Waititi) openly resents Klara.

On the flip side, Josie really loves her new AF, and Klara is unconditionally devoted to her. We soon find out that Josie is terminally ill due to a gene-altering process called ‘lifting’ that was supposed to make her a genius. This unchecked human ambition often leads to disastrous results, and that’s exactly what we see here. It’s similar to those who undergo extreme surgical enhancements only to face severe side effects or worse, complications that can be fatal. The movie explores themes of overwhelming grief, as Chrissy lost her first daughter years ago. This loss continues to haunt her and pushes her to take drastic measures.

Ortega brings Klara to life as a ‘manic pixie robot dream girl,’ embracing her quirky mannerisms and wide-eyed excitement, particularly because the film has removed the character’s inner thoughts found in the novel. I can see that it might be jarring for fans of the book, but I actually find Klara’s naive optimism endearing. All she wants is to keep Josie safe and happy. Many dystopian sci-fi stories portray robots as threats to humans, so it’s refreshing to see one where the android genuinely cares for us and would even risk her own existence for her beloved owner. The barn scene is truly heartbreaking, showcasing Klara’s deep, pure love for Josie.

British-Indian newcomer Tharia shines in her role, and her mercurial mood and sarcastic demeanor create a striking contrast with the ever-so-cheery Klara. Her chemistry with Ortega serves as the emotional core of the film. Josie’s friend Rick (Aran Murphy) is sympathetic to Klara and later becomes her ally. Despite his brief appearance, Aran leaves a lasting impression. He shares not only the same striking blue eyes as her father, Cillian Murphy, but also his acting talent.

Amy Adams sometimes appears cold and unfeeling, which may be what the script demands. However, there is a moment with Klara that reveals Chrissy as a complex, morally ambiguous mother pushed to the edge by her grief. My main issue is with some of the AF characters, as a few seem mean-spirited and unfunny. Natasha Lyonne and Steve Buscemi might not have a lot of screen time, but both play a pivotal role in the story.

The best sci-fi movies featuring humanoid robots astutely explore what it means to be human. Some of my favorites are Ex Machina, Blade Runner 2049, and After Yang. While Klara and the Sun may not reach the heights of these films, it’s far from terrible. In fact, it’s well worth a watch and provides thought-provoking themes that spark interesting discussions afterward. The movie is technically proficient, featuring outstanding production design by Ra Vincent and stunning cinematography by Mike Berlucchi. Michael Giacchino’s elegant score is melancholic and a tad weepy, yet somehow works well with the whimsical tone.

It’s worth noting that Ishiguro played a significant role in adapting the film script alongside Dahvi Waller and Waititi. Reportedly, the novelist admires Waititi’s work and allowed the New Zealand-born director to add his unique humor and sentimentality to the movie. Waititi’s style is an acquired taste that people either love or dislike. Personally, I don’t mind the quirky vibe, but as the credits roll, I sense something is lacking. I wouldn’t describe this film as soulless, but it’s definitely not as profound as it could have been. Nevertheless, as I exited the theater, I felt a mix of sadness and hope, and also grateful for the reminder to cherish those who enrich our lives.