ByLee Burke, writer at

Spike Jonze’s fourth full-length feature Her is a film of immense beauty. The director creates a world in an unspecified future where connections can be made through the use of an Individual Operating System (Scarlett Johansson) amongst other spellbinding technological advancements, but whilst Her’s existence relies on this software the film’s true statement has nothing to do with science-fiction or the dystopian atmosphere Her inevitably finds itself in; rather it is merely a format for Jonze to converse questions of connection and the vulnerability of the physical state represents this even further.

Joaquin Phoenix, coming off a monumental performance in 2012’s The Master, provides a performance equal of that as Theodre Twombly. He wanders through his turbulent romances with a shattered force, all the while delivering hope and warmth with his transfixing performance. Phoenix is devastated, happy, confused, enthralled and powerless all at the same time. He realises the beauty of the woman he’s conversing with as more than the computer his ex-wife (Rooney Mara) announces it to be; he feels her voice and hears her personality and concludes there is a person inside of his phone wanting an emotional connection as much as he does.

This leaves him vulnerable obviously and the final act encompasses the heartbreak of romance as emphatically as possible, but never once does Jonze seek for sentiment in his dialogue. He allows for the honesty of his screenplay to leave us equally as powerless as Theodre. Her is a wonderful movie, one which I want to see over and over again to feel the full force of Jonze’s delicious poetry.


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