The director has turned Kazuo Ishiguro’s acclaimed novel about an ailing adolescent and her glitchy robot friend into a thought-provoking film. What do the pair think this story says about tech, love and grief?
In the wings of the London film festival, a group of young influencers are discussing their personal highlights. Klara and the Sun, says one, and her colleagues agree. It’s not just that the film is still so fresh in their memory, or that they have gathered today to meet its creators and stars. Klara is funny and moving; it’s their festival favourite so far. I relay this exchange to Taika Waititi, the film’s director, who is sipping bottled water in a room down the hall. His gaze widens. He almost chokes. “Thank God!” he exclaims with just a bit too much heat.
Everybody has a perfect film, just as everybody has a perfect friend, and they vary because everybody is different. In the film, sick 14-year-old Josie loves her discontinued robot doll Klara, whereas most kids her age opt for brighter, shinier models. And the young influencers love Klara and the Sun – Waititi’s adaptation of Kazuo Ishiguro’s acclaimed novel – while most older critics vehemently, violently disagree. All of which shows that there’s no accounting for taste, that people are confounding, and that our hearts and our brains are not always in sync. That keeps life interesting. It’s partly what the film is about. “The emotions that we give very simple labels to are really complex,” says Ishiguro, who is seated alongside the director. “The thing we call love, for example, is incredibly noisy and multifaceted. Nobody knows what the hell love is.”
