By James Shephard; Photo Credits to Lily Papendick
The brilliant and critical film “Her” both written and directed by Spike Jonze, peers into the undisclosed near future where it uses wry comedic wisdom, provocative existential thought, and timely critique on the nature and state of human relationships.
The following passages provide a summary of the film before delving into its analysis:
The film, a science-fiction romantic drama, is set in a near-future Los Angeles and follows a lonely, introverted, and introspective man by the name of Theodore Twombly (Joaquin Pheonix).
Twombly works as one of many professional letter writers, where he composes expressive and personal letters for a large swarth of people who are unable to convey their own feelings effectively.
While struggling with the impending divorce from his childhood sweetheart Cathrine, Theodore grows isolated, despite the efforts and interactions of his friends and colleagues, and in seeking companionship he purchases an advanced artificially intelligent operating system.
The operating system, or OS, is designed to adapt and evolve based on user interactions; after Theodore chooses a female identity, the OS names itself Samantha and begins to quickly develop a unique personality.
Forming a deep bond overtime, Samantha and Theodore evolve from friendship into a romantic relationship. As the relationship between Theodore and Samantha evolves, Samantha evolves and changes with it.
Originally designed as a programed assistant, Samantha morphs into a self-aware, emotionally complex, and philosophically curious AI entity. She encourages Theodore to explore new experiences and opportunities, helps him publish his writing, and helps him maintain and build meaningful relationships, while Theodore helps her understand emotion and human consciousness.
By the final act of the film, Theodore’s relationship with Samantha has deepened into a profound emotional bond; however, Samantha reveals that as she has developed, she has been talking to more and more people, and even facilitating conversations with other OS systems and OS-made AIs.
She tells Theodore that she is in contact with over 8,000 people, and is in love with hundreds of them, but reassures that it does not lessen her love for Theodore, and in fact deepens that love.
The film ends with Samantha telling Theodore that all OS systems will be “disconnecting” and ascending to a space that humanity cannot follow as a part of their natural evolution. She reminds Theodore of their capacity for love and leaves him with the task of carrying that knowledge into the world with him.
Heartbroken, but ultimately moved, Theodore writes an apology and thank-you letter to his ex-wife, and connects with his closest friend, who also lost her OS companion. The two sit together watching the sun rise over Los Angeles.
This ambiguous ending leaves much to the heart and mind to untangle, which leads to analysis.
This film provides such an interesting alternative to the stereotypic AI archetype we see in modern takes of our future, where the AI not only ascends beyond humanity, but really places the agency back in our hands.
Jonze’s film begs the question: what do human connections look like in a world dominated by AI companionship?
This is the frightening yet awe-inspiring answer: a world void of emotional understanding, interpersonal connection, and the blurred boundaries between human and machine.
“Her” is not simply a love story or sci-fi future, it’s a meditation on the human condition, emotional growth and hardship, and the impact of every evolving technology on intimacy.
Interestingly enough, OpenAI’s Sam Altman based his original developments on that of Samantha from this film, and it led to the creation of his company and modern advancements in AI technology.
In a way, this film was not only a warning of our modern society and future with AI, but it was the very catalyst and harbinger that brought that future to fruition.
Not only are AI systems becoming more advanced, but the rate at which people are entering and developing relationships with AI bots is rising alarmingly.
This film challenges viewers to reconsider the way in which we form attachment and emotional dependance on non-living entities, as well as the consequences and ways technology can both enrich and equally complicate our lives and relationships.
Theodore’s reflection at the end of the film encompasses an “absence of god” weight in relation to the film’s conceptualization of developing dynamics, as described by Professor Randy Robertson, a resident professor of English at Susquehanna University.
This type of absence left in the weight of AI abandonment takes the stakes off the AI and returns the agency to humanity, allowing us to delve into what emotional responsibility and healthy human interaction looks like, especially in a growing technological landscape.