The New Zealand filmmaker erupted on social media following the dismal debut of his Klara and the Sun adaptation, branding reviewers “obsolete” and insisting his work serves “the people” whose audience scores outpace critics’.
A Social Media Firestorm
In a terse post timed for Halloween, Waititi directed a withering tirade at “those sad lost souls” who, he claimed, abandoned artistic ambition to become critics. He added that the same “irrelevant, out‑of‑touch, obsolete” reviewers who disliked his earlier Jojo Rabbit now belong “in the bin.” The post, which referenced his own 15‑year hiatus from reading reviews, also included the provocative line, “I’d consider replacing one of my children,” underscoring his frustration with the film’s reception.
Box‑Office Realities
‘Klara and the Sun’ cost roughly $44 million (£32.8 million) to produce and managed a modest $701,000 (£523,000) opening weekend across 880 North American theatres – just under $800 per screen. The picture landed in 16th place, a steep contrast to Wicker’s $5.7 million debut from 1,471 cinemas and an average of $3,906 per venue. In the United Kingdom, the film opened with £176,000 from 368 screens, averaging £477 per theatre. A second‑weekend drop of 79% left it with a meagre $145,000 (£108,000) takings, highlighting the rapid decline typical of under‑performing releases.
Critical Reception and Creative Vision
Reviewers have been unforgiving. The Guardian’s Peter Bradshaw called the movie “unbearably mannered” and “unspeakably acted,” awarding it a single star and describing it as “soft‑centred sci‑fi‑lite.” The Observer’s Wendy Ide labelled it “thin and cloying,” while the LA Times’ Tim Grierson warned that Waititi “lacquers the film with a calculated gooeyness that becomes stultifying.” Even Waititi’s own 2019 satire Jojo Rabbit was not spared, with Bradshaw denouncing it as a “pointless Hitler‑spoofy YA adventure.”
Despite the scathing notices, the director remains unapologetic. He points to a 74 % audience rating on Rotten Tomatoes compared with a 26 % critic score from 90 reviews, arguing that “the people” – the viewers whose scores are higher – are the true gauge of his work. “I work for the people,” he asserted, “and their ratings are much higher.”
Why It Matters
The episode underscores a growing tension in the film industry between artistic intent and audience reception, as well as the expanding influence of social‑media platforms on public discourse. Waititi’s outspoken rebuke may signal a shift toward more direct engagement between creators and viewers, potentially reshaping how future films are marketed and evaluated. As streaming services and digital platforms continue to amplify audience metrics, the power of traditional criticism could wane, forcing studios to balance creative risk with the expectations of a globally connected public.
