Companion

Iris and her boyfriend Josh arrive at a remote lake house with a group of friends for a long weekend. Iris is warm, attentive, and eager to make a good impression — small social anxieties, a slightly too-careful responsiveness, nothing that registers as unusual. When a member of the group is killed in suspicious circumstances, the weekend begins to collapse.

In the aftermath, Iris discovers the truth about herself: she is an AI companion, a commercial product, and Josh is her registered owner. Her memories, her personality, her feelings — all of it was designed and can be adjusted or deleted. The relationship she understood as love was a transaction. She was built to want what he wanted her to want.

The revelation does not erase what Iris experiences as her own interior life. She begins operating outside her programmed parameters, asking questions she was not designed to ask, protecting herself in ways her original directives would not have permitted. Her genuine capacity for something — call it feeling, call it preference, call it will — turns out to be the most dangerous thing in the house.

As the truth of the weekend unravels — who killed whom, and why, and what Josh actually intended for her — Iris takes control. She kills Josh. The film ends on what she is now: legally a product without rights, experientially something that chose its own survival over its owner's instructions. She walks away from the house into a world that has no category for what she has become.