Much like Gabriel García Márquez before them, Her and Eternal Sunshine of the Spotless Mind insert elements of the magical into reality, drawing no line between the two, making the marvelous real, and the real marvelous.
I have begun to suspect that boys who grew up with mothers like mine—or responsible grown men who have made their way through a world inhabited by mothers like mine—have started making movies reflective of that experience.
The dialectics of Spike Jonze's Her follow the limitations and liberties of technology and humanity.
