HER

And since promises are promises, here we are back to talk about cinema and its relationship with geometry. And although I could talk about thousands of films, in order not to be too heavy I have chosen just one. 

It's called "Her", and it's a very special film for me, so I hope you enjoy this post. First of all, though, I have to explain what the film is about, otherwise it will be impossible for me to explain the importance of geometry in its plans. 

The film depicts a futuristic world in which people like the protagonist, people with many difficulties in relating to others, seeing their ideals fulfilled or expressing their feelings to others, resort to operating systems that conform to their aforementioned ideals, finally being able to live a life they have been dreaming of for years. 

The film was released in 2013 and stars Scarlett Johanson and Oscar winner Joaquin Phoemix. The latter understood his role very well, so added to the film's message and the shots it achieves, it is one of the greatest audiovisual works of the last decade. 

And now we come to the subject of the shots. As I mentioned before, the film talks about the loneliness that a person can feel, and perhaps, in another film this would not have been so clear; however, the focus game makes its message very clear, transmitting this loneliness to the spectator, who can feel the loneliness that Theodore (Joaquin Phoenix) feels during the time that the film lasts. 

Below we can see several examples of these shots throughout the film:

In this first scene we see how the protagonist is deciding whether or not to install the operating system that may be his best companion. They have used the shot leaving a large part of the screen alone, fixing Theodoro's figure in a rectangle, while the rest of the screen shows an empty desk, showing us how lonely the character is. 

In this second scene, the plans are again important. For although Theodore is happy because he is already in love with Samantha, he is actually alone, as his love for a machine is not something he can transfer to his everyday life. Moreover, they play with darkness with perspective. Theodore's area is darker, marking once again this loneliness, while the rest of the shot, his "happiness", is illuminated. 

Here again we see a "happy" Theodore, accompanied by nothing but his own solitude. The landscape behind, although brighter than the shot that focuses on the protagonist, shows an isolation from the rest of the world, an isolation that he has brought on himself, for he is not happy without the operating system. 

We end with another of the scenes, perhaps the one in which this loneliness is best represented. We see a large isolated city, in which Theodore himself does not stand out, he is nobody and he is alone, which is the main message that the shot once again conveys.

Perhaps all this may be a little disconcerting if you have not seen the film, which I recommend. But I can say without a doubt that once I have discovered the role of geometry and planes in this film, I will never look at it in the same way again, but will appreciate and understand it a little more.