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Klara and the Sun review – Taika Waititi’s manic pixie dream robot sci-fi is a sentimental mess

The director of Hunt for the Wilderpeople and Jojo Rabbit turns Kazuo Ishiguro’s AI fable into a twee, tiresome tale of love and grief

Taika Waititi detonates an explosion of postmodern quirkiness and ironic dorkiness in this unbearably mannered, unspeakably acted film. It’s a slice of sentimental whimsy-futurism and non-satire, adapted by Waititi from the Kazuo Ishiguro novel, which winds up saying nothing substantial or meaningful (or funny) about artificial intelligence, love or grief. Klara and the Sun is soft-centred sci-fi-lite, simultaneously demanding we laugh at its (unfunny) humour and wipe away a tear at its pass-agg poignancy. With earlier films like Hunt for the Wilderpeople and Thor: Ragnarok, Waititi showed he can do comedy. But this, sadly, is closer to his notorious fey-Hitler fantasy Jojo Rabbit – misjudged and self-admiring.

Florence Pugh’s Whimsical Rodarte Look for ‘Klara and the Sun’

We didn't see Florence Pugh at the photocall, but the actress graced the red carpet at the 2026 BFI London Film Festival premiere of Taika Waititi's latest project, Klara and the Sun.

And she may have stolen the spotlight in this utterly radiant and whimsical Rodarte Spring 2026 gown.

There's something wonderfully romantic about the floral embroidery, but it's those exaggerated, sculptural shoulders that really make this look. Their pointed, almost wing-like shape gives the gown a fairy-tale quality, as though Florence has stepped straight out of a fantasy illustration. It's an unusual silhouette, but one that makes the dress all the more enchanting.

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