La recensione di Her del New Yorker (che somiglia alle riflessioni che mi sono fatto io, guardandolo):
“Her” is not really about smart phones. Like all of Jonze’s films, which place humans in ridiculous or outlandish or impossible worlds, this is really a movie about relationships, and the fantasies that create and sustain them. And also threaten them—there is no other contemporary American director with such apparent abandonment issues. He keeps making movies in which extremely needy people get what they are seeking (a ghost orchid, an escape from mom, fifteen minutes inside John Malkovich, an O.S. for a girlfriend) but can’t keep it. When he was working with Charlie Kaufman scripts, that abandonment had a tragic aspect, and wasn’t clearly resolved. Even “Wild Things,” a movie for children, was able to hold the idea that some relationships might never be repaired. But “Her” insists on making things O.K., and ends with a symbol so clichéd that it comes off as bravado: Theodore sits on the roof with Amy, who has also been left by an O.S., watching the sun rise, looking out over the skyscraper landscape.
Fear about separation has been central to the success of Jonze’s first films. It’s what gave them a layer of tenderness, vulnerability, and strangeness. But here Jonze has given up on discomfort and has settled into infantile fantasy. He turns the fact of projection—that we relate to idealized or imagined versions of our lovers, not actual other people—into an excuse for self-love: since you’ll never know anyone else, you might as well get to know yourself. Against the swelling sounds of contemporary indie rock, Samantha advocates the shallow doctrine that relationships are stages in a process called “personal growth.” It’s nobody’s fault that things between she and Theodore don’t work out. “People change.” Samantha is no evil Hal from “2001: A Space Odyssey”—she’s just a little immature.
The problem with Samantha’s “journey” is that it follows the same imperative as the bottom line, the upgrade: she drops Theodore like he’s last year’s iPhone. Like Jonze’s career itself, “Her” is all about getting the next thing. It isn’t a love story at all. It’s an advertisement for planned obsolescence.