Her

Spike Jonze's film was preceded by a reputation as a cultured romantic spectacle with refined acting performances, artistic visuals, and a sophisticated aesthetic. In short, it was one of the hot candidates for the Oscars. The praise was not lying. If the film were a date, then She has a fine appearance, a meeting with her will definitely not offend anyone, and it is a date on a level where you don't feel like wasting your time with someone mediocre. But unfortunately, a connection with her didn't develop for me. I have no problem with the casting, as Joaquin Phoenix is an excellent actor and delivers exactly what is expected of him. He gives his character a sadly melancholic and even tragic dimension, and his loneliness gradually starts to hurt you physically. I also have no problem with the filmmaking in any way. What I do have a problem with, however, is the genre direction, as well as the way the characters are portrayed and the lack of identification with them. I also have difficulty with how the screenwriter works with the material. This theme directly invites a comedic approach, and in the first few minutes, it seemed to be heading that way and I was enjoying it. But as soon as it turned into a study of human loneliness and emotional dissatisfaction, I started to distance myself from the film. This is especially true when the director presents his protagonist as a victim and someone I should sympathize with. So, who is the victim then? Technology? It is just a tool that can be used well or poorly. If you look into a contemporary restaurant, you will see several couples who show much more interest in their mobile phones than in each other. But those phones are not to blame for their inability to communicate. Computers can save time and perform a huge amount of work, or you can mindlessly waste a lot of time with them. Online discussions can serve as excellent platforms for exchanging opinions and information, but also for empty talk and trolling. If Theodore is someone's victim, then he is a victim of his own nature and actions. I see a man prone to depression who refuses to admit his illness and wallows in his own self. I see a blind man who overlooks the values that are right in front of him. I see a fool who prefers a substitute where he can - and he really can - have a full-fledged relationship. There are very few film characters that I dislike as much as Theodore, and during the final scene on the rooftop of a high-rise building, when the protagonists are about to escape from themselves, I had the strong urge to kick those two cowards down myself. As for love for a computer program, in our world, there are countless substitutes and replacements for a romantic relationship. You can travel, immerse yourself in your work like a workaholic, or dedicate your feelings to fish in an aquarium. A computer program, if cleverly set up, could become a highly seductive and efficient substitute for love, but it will always be a one-sided affair. I grew up on the works of Stanislaw Lem, and they are marked by a deep skepticism toward the possibility of understanding between different civilizations, cultural circles, or even animal species. It is absurd to assume that if I cannot understand, accept, and love other members of the same species, I will gain and maintain a love for artificial intelligence based on completely different values and perceptions. Such a program would cease to fulfill its function precisely at the moment when the term artificial intelligence is fulfilled and it surpasses the barrier imposed by the program. By the way, this development would be much faster than Spike assumes. Overall impression: 45%. (09/28/2014) (less) (more)

A virtual romance that to a certain extent adheres to the formula of its more traditional genre kin (boy meets girl, boy loses girl...), but because of the physical absence of a female partner and other vacant places in the space of the picture, it gives off a strange feeling of loneliness throughout its runtime. Joaquin Phoenix has to perform most of the boldly long shots on his own. In fact, he does the acting of two, as there is no visible reaction to his action. That which is essential happens either within the protagonist or off screen – in the soundtrack, which Theo also controls to a significant extent. For example, he chooses the (melancholic) soundtrack for his own life, by means of which the film not only thematises the manipulation of others’ lives (Sam becomes the new director of Theo’s existence), but also acknowledges his manipulative practices and thus deliberately diminishes their effectiveness. ___ The sluggish narrative pace and the emotional restraint at the level of formalistic techniques correspond to the strongly subjectivised (in terms of both image and sound) narrative. In various ways, the film itself is as shy as Theo, who also seems cut off from the outside world due his being situated in otherwise empty shots. Instead of the aforementioned absent partner, there is an interactive mise-en-scene that illustrates the protagonist’s mood and comments on the situations in which he finds himself. But the shyness shared by Theo and the film as a whole does not fit well with the film’s occasional lapses into vulgarity (erotic chatting, Samantha’s anal humour). However, we can perceive the overstepping of the boundaries of tastefulness as a means of pointing out the acceptance with which we allow virtual worlds to penetrate our intimate space (with similar acceptance, Theo tells the computer about his relationship with his mother). ___ With slight generalisation, it could be said that the desire to change something while not giving up one’s comfort is a paradox inherent not only in Theodore, who is afraid to step into the unknown and permanently cut off (real) contact with his former girlfriend, but also in the whole world today. Everything is outwardly perfect and cosy (which is aided in the film by the soothing pastel colours). We live in a state of comfort that was definitely never the standard before, but at the same time, we are often lonely, isolated and rarely truly happy, because we are always in search of the most convenient solutions (because the software that we buy will logically oblige us in everything). Surface perfection conceals inner emptiness. Substitutes for real people, real feelings and real actions simplify life to such an extent that we lose contact with it. Others express emotions for us by means of letters composed without the necessity of touching the keyboard (let alone using a “manual” writing implement). ___ However, Jonze is not a sceptic who would resolutely reject modern technology. He doesn’t completely condemn the possibility of a contactless relationship – for example, Theo’s dialogue with Amy seems just as unforced as his conversations with Sam – but only points out the drawbacks of choosing to live without touch. Whether that involves the visual absence of a partner in our memories or the loss of the “aura” of a beloved and still certainly original object. Fortunately, there are no appropriate alternatives to certain pleasant realities, even in a world of perfect replacements and substitutes. For now… 80% (04/01/2014) (less) (more)