Klara and the Sun (2026)

Jenna Ortega steps into a radically different role as the titular Klara, an outdated companion android, in Taika Waititi’s upcoming adaptation of Kazuo Ishiguro’s novel. The film opens in theaters on October 23, 2026, and promises a fresh blend of dystopian sci‑fi and heartfelt drama. The casting shift is stark: Ortega, fresh off her breakout as the sharp‑tongued Wednesday Addams, now portrays a toddler‑like, joy‑filled machine whose only goal is to belong. She joins an ensemble that includes Amy Adams, Mia Tharia, Natasha Lyonne and Steve Buscemi, setting the stage for a story that probes identity, connection, and what it means to be human. In the narrative, Klara is purchased by a young girl named Josie, sparking an immediate bond that pulls the android into a family wrestling with loss and a strained mother‑daughter relationship. Clocking in at 116 minutes and rated PG‑13 for drama, comedy and sci‑fi elements, the film balances tender moments with the genre’s usual speculative edge. Industry watchers see Klara and the Sun as a pivotal move for Ortega, showcasing her range beyond the darkly comedic Wednesday. With Waititi’s direction and Ishiguro’s source material, the project could broaden her horizons and cement her status as a versatile talent ready for any genre.

Jenna Ortega, fresh off her breakout as Wednesday Addams, steps into the role of the titular android in Taika Waititi’s new sci‑fi adaptation, Klara and the Sun. In a candid interview with Variety, the 24‑year‑old urged audiences to"put down the computers and phones" and focus on the people standing right in front of them, framing the film as a reminder to be present. Ortega clarified that Klara isn’t the data‑driven AI we see online; the character gathers knowledge from the real world, making her more like a curious toddler than a machine that pulls everything from the internet. Waititi’s direction reinforces that humanity, opting for clumsy, unknowing movements over sleek robotics to keep Klara grounded in a relatable, almost childlike innocence. The story is rooted in Kazuo Ishiguro’s 2021 novel, and the Nobel‑prize‑winning author notes how the world’s attitude toward AI has shifted dramatically since the book’s release. He stresses that the film won’t follow the typical “nice AI turns sinister” formula, instead offering a quieter meditation on technology’s place in a rapidly changing society. Beyond the screen, Ortega reflected on her own struggle with fame after Wednesday’s success, describing a period of unhappiness and intense pressure. Her call for presence feels personal as much as it does cinematic, inviting viewers to step back from screens and reconnect with the world around them.

Taika Waititi steps into Kazuo Ishiguro’s 2021 dystopian novel with high expectations, given his knack for cringe‑laden, reality‑based comedy. The result, however, is a sporadically funny meditation that never quite lands, leaving viewers wondering whether the director has drifted off course or the material simply resists his style. The film opens in a candy‑colored “Friend Store” where a B1 robot named Klara sits on the shelf, overseen by a fiercely protective store manager played by Natasha Lyonne. The shop competes with a rival “Fancy Friends” outlet that sells newer Bluetooth‑enabled B3 models, hinting at a future where AI evolves at breakneck speed while the internet itself has been erased after a recent world war. Klara’s new owner, teenage Josie, is a genetically “lifted” polymath battling a serious illness. Her mother, Chrissie, purchases the robot not just for companionship but in a desperate bid to stave off another loss. As Klara learns the depth of Josie’s condition, the film shifts from light‑hearted curiosity to a darker exploration of mortality, motherhood, and the limits of artificial life. Even with strong performances, the movie’s tone unravels during moments like Josie’s avant‑garde school scene, where unlistenable music and impractical fashion clash with the story’s earlier innocence. The promised blend of humor and heart fizzles, leaving a curiously flat dystopian comedy‑drama that feels out of step with both the source material and Waititi’s own previous work.