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The first when our hero, Theodore (Joaquin Phoenix), initiates his new operating system, Samantha (voiced by Scarlett Johansson), and is asked to characterize his relationship with his mother; the second when, in flashback, Theodore and his ex, Catherine (Rooney Mara), pretend to choke each other.They're waypoints Jonze establishes for his piece: in one direction, there's and its mad love.) at the helm, it possesses a remarkable level of intuition about what to look at.
Look at the wardrobe, too, the future fashions all high-waisted and frumpy--that by itself is isolating. Theodore lives downstairs from budding documentarian Amy (Amy Adams), who's seeking authenticity in a piece that reminds a little of an Andy Warhol " is in many ways as much about the variety of solitude (in crowds, in couples, in actual solitude) as it is about the multiplicity of relationships.
When they fight, she pauses and, sounding heartbroken, says that she doesn't like herself "like this" and hangs up. I've said about the films of frequent Jonze collaborator Charlie Kaufman that I don't understand them but they seem to understand me. By removing the physical, he comments on the physical.
I've heard that before, and I've been hung up on that way before, too. One of the film's great surprises is the way it imagines cottage industries and professions that crop up as more people begin to date their operating systems (and operating systems belonging to others), and in one sequence featuring one such enterprising individual, the question of the physical nature of relationships comes into queasy, dangerous focus.
From what I can gather, people provide him with personal information and then Theodore contemplates their photo, develops empathy with them, and writes love letters on their behalf.
He's a relationship facilitator, but when he returns to an empty apartment and a late-night sex-chat roulette line, or when he walks home through streets of people talking into their devices, we understand that he's genuinely alone.