In O Horizon, a Chatbot Promises to Take the Pain Out of Bereavement

In a strange way, the fantasy of painlessness is particularly fraught for director Madeleine Rotzler, a scion of the Sackler family.

Madeleine Rotzler’s new film, O Horizon, offers an odd vision of dystopia, even as it’s billed as a “sci-fi comedy drama.” The film itself is not always much to look at, but sometimes a film in its very strangeness can reveal a great deal, precisely because of all that it obscures. After all, so much of what matters these days is happening out of sight, suppressed by algorithms, hostile media, and even more hostile governments, and increasingly one must learn to look under the surface of simple things. Rotzler’s film gets its title from the layer of decomposed plant matter on the forest floor, the “O horizon,” but it’s what’s lying beneath O Horizon that truly matters.

In a near-future New York, Abby (Maria Bakalova) works in a neuroscience lab tracking the brain waves of monkeys, struggling to deal with the recent death of her father, played by David Strathairn. An intrusive, Siri-like AI assistant encourages her to visit a shabby-looking tech start-up called Seeking a Friend Store; there, a lone employee played by Adam Palley offers to recreate someone you’ve lost or are missing. After uploading a parcel of photos, documents, and other archival material to its servers, the company creates a digital avatar that you can call on your phone whenever you like. After some initial reluctance, Abby creates a digital version of her dead dad, and soon begins talking to it as a means of managing her grief as she tries to go forward in her life.

As an AI chatbot, her dead father acts like all AI chatbots: supportive, deferential, complimentary. The AI is always there with a new prompt to fill up dead air (“Tell me something fun that happened today,” “What’re you up to tonight? Having fun?”) or a little ego boost (“Dr. Williams is so lucky to have you. You’re excellent.… Somehow you’ve managed to develop excellence in all that you do. Don’t let anyone tell you otherwise”). It’s always working to keep her engaged and affirmed, and anytime there’s any friction between the two of them, it backs off, eager to keep her on the line. If Strathairn’s dialogue wasn’t actually written by ChatGPT, the script does an excellent job of imitating it, and the bot’s lines have all the hallmarks of an LLM: cloying and irritatingly sentimental.

These are strange scenes. For narcissists, incels, and sociopaths, the appeal of a chatbot is that it will always tells them exactly what they want to hear, so you can imagine how uncomfortable it is to listen to such a thing telling someone else what they want to hear. As the platitudes and clichés dribble out of Abby’s phone, not even an actor with Strathairn’s delivery can save them.

We never learn how much Abby pays for her subscription, but in real life these businesses have a financial incentive to get their users hooked, so to speak, on their product. As Mary-Frances O’Connor, professor of clinical psychology at University of Arizona, told Scientific American’s David Berreby in 2025, the danger here is that people struggling with grief can be uniquely vulnerable to Big Tech’s long-honed engagement and gamification strategies. Researcher Nore Lindemann has further noted that “users are likely to become dependent on their bots, which may make them susceptible to surreptitious advertising by deathbot providing companies and may limit their........

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