Jenna Ortega arrived at the world premiere of Klara and the Sun on October 15, 2026, with a specific plea for the audience: prioritize human connection over digital distraction. Speaking at the BFI London Film Festival, Ortega expressed her hope that the dystopian drama would inspire viewers to “put down the computers and phones” and focus more intently on one another.
The film, which served as a headline gala for the festival, explores the thinning line between technology and genuine companionship. Ortega portrays the titular character, Klara, an “Artificial Friend” (AF) designed to prevent loneliness in a future where social isolation has become a systemic norm. The irony of playing a machine built to simulate friendship was a central theme of Ortega’s reflections during the London event, as she urged a return to more traditional forms of intimacy.
Adapting a Dystopian Vision
Directed by Taika Waititi, Klara and the Sun is an adaptation of the 2021 novel by Nobel laureate Kazuo Ishiguro. The story follows Klara, a solar-powered robot with acute observational skills, as she is purchased to act as a companion for a young girl named Josie. Amy Adams co-stars as “The Mother,” the woman responsible for bringing the AI into their home to navigate the emotional complexities of her daughter’s life.
Early reactions from the London screening have noted Ortega’s performance as a non-human entity that meticulously mimics human emotion. The role required a delicate balance, portraying a character that is simultaneously a sophisticated piece of hardware and a witness to the fragility of the human heart. Waititi’s direction reportedly lean into the philosophical questions posed by Ishiguro’s source material, focusing on whether a machine can truly understand the concept of love or if it merely approximates it through data.
The production, backed by 3000 Pictures and Sony Pictures, arrives at a time of heightened cultural anxiety regarding the role of artificial intelligence in daily life. By placing an AI character at the center of a story about loneliness, the film serves as a mirror for contemporary habits. Ortega’s comments suggest that while the film depicts a world where technology tries to solve isolation, the real-world solution lies in disconnecting from devices to reclaim personal presence.
While the film has successfully debuted on the festival circuit, its broader theatrical release is expected to follow the momentum of its London reception. The collaboration between Waititi’s distinct visual style and Ishiguro’s somber, thoughtful prose marks a significant entry in the sci-fi genre for 2026, positioning Ortega in a role that challenges the traditional boundaries of a leading performance.
