Title Dossierدراما

هي

Name: هي
Genre: دراما,رومانسي,خيال علمي
Released: 2014-01-10
Rating: 8.0

درامارومانسيخيال علمي

تقع أحداث الفيلم في لوس أنجلوس حيث يعيش رجلٌ يُدعى ثيودور تومبلي. ثيودور رجلٌ حنونٌ ومركبٌ ، يكسب لقمة عيشة عن طريق كتابة رسائل شخصية بالنيابة عن أشخاصٍ آخرين. تصفعة الحياة صفعةً قويةً عندما تهجره حبيبته وتتركة مكسور الفؤاد بعد علاقةٍ دامت فترةً طويلة. لكنه سرعان ما يقع في الحب مرةً أخرى ولكن هذة المرة يقع في حب صوت سامنثا. فهل تكتمل حياته مرةً أخرى أم يصاب بخيبة الأمل من جديد.

السنة

2014

المدة

2h 6m

IMDb

8.0

شاهد الآن

Poster Feed

طاقم العمل

Joaquin Phoenix

Theodore

Amy Adams

Amy

Scarlett Johansson

Samantha

طاقم العمل

Joaquin Phoenix

Theodore

Amy Adams

Amy

Scarlett Johansson

Samantha

Lynn Adrianna Freedman

Letter Writer #1

Lisa Renee Pitts

Letter Writer #2

Gabe Gomez

Letter Writer #3

Chris Pratt

Paul

Artt Butler

Text Voice

May Lindstrom

Sexy Pregnant TV Star

Rooney Mara

Catherine

Bill Hader

Chat Room Friend #2

Kristen Wiig

SexyKitten

Brian Johnson

OS1 Commercial Lead

Matt Letscher

Charles

Spike Jonze

Alien Child

Olivia Wilde

Blind Date

David Azar

Theodore's Divorce Attorney

Guy Lewis

Marriage Counselor

I was fooled into watching this by the 8.5 rating on IMDb.... What a waste of time. I downloaded this and felt ripped off. I'm not even trying to be funny with what I'm writing, it was genuinely a slow, boring, non-event of a movie. The plot was clichéd and pretentious not to mention it's cringeyness and predictability. Drab, grey, dull, etc... I just can't get my head around why this is so highly rated, none of its attempted messages were lost on me or anything yet I still found it terrible. Acting and all that, well it was as good as it could have been for such a dire script/plot/whatever you want to call it. I just want my 2 hours back. Eurgh.

maxzaheerMay 27, 2024

Though director Spike Jonze collaborated with Charlie Kaufman on Being John Malkovich and Adaptation, the latter didn't have a hand in Jonze's assured, moving fourth feature, but his spirit—fiendishly inventive, casually postmodern, self-lacerating, fearless, funny, and ultimately deeply sad—pervades the film. With Her, Jonze beautifully realizes a future Los Angeles where a lovesick man (Joaquin Phoenix) in the midst of a devastating divorce is so desperate for intimacy that he falls hopelessly in love with an artificially intelligent operating system, voiced by Scarlett Johansson. Jonze's screenplay acknowledges the innate absurdity of the film's premise while spinning it into an elegant, heartbreaking depiction of human loneliness and the innate need for connection. For the setting, Jonze plugged into the current era's technological mania to say something timeless and profound about love, loss, and evolving desire.

💜🖤R̸a̸g̸h̸a̸d̸🖤💜May 27, 2024

"It has become appallingly obvious that our technology has exceeded our humanity." Albert Einstein No better romance is on the screen in 2013 than Spike Jonze's insightful Her. It's about a writer in the future, Theodore, who falls in love with his new operating system (gravelly, sexy voice of Scarlett Johansson), just as he is reluctantly divorcing Catherine (Rooney Mara). The always complicated paths of love make sense as we witness the Platonic relationship develop, sans flesh and sans insanity that usually comes with that flesh. Her is a simple film that offers a view of love I never thought could come from a machine and its software. Although critics will cite the theme as a screed against the distancing of technology and our growing isolation from each other, and they will be right, I offer the sub theme that only when we strip ourselves of sensual bonds can we see the purity of emotional love, an essence of which Plato would have approved. Yes, although technology is mediating our lives at a rapid pace, we fall back to a personal drive to love and be loved that is physical in its best form but understood best if we can distance ourselves from that physicality. This delightfully intimate and non-violent film from acclaimed absurdist director Spike Jonze is more emotionally involving than even Enough Said (one of 2013's best romances) because the interaction between the software and the man is all verbal, no glimpse of the gorgeous Johansson allowed. Although this intuitive OS does allow mind sex, even that activity is abstract, allowing us to realize how connecting with a live human is in the mind still and one of life's great gifts, * or not. Her allows us to witness the evolution of love separate from the encumbrances of physicality. Released from the bonds of appearance, voice is the seducer, not in rude sexual nuance but rather in the care that comes from love of the mind, not the body. K.K. Barrett's production design, Austin Gorg's art direction, and Gene Serdena's set decoration are memorable: full of comfortable light, much glass overlooking the city, and modern but warm furniture both in LA and Singapore. These artists understand that the fusion of technology and art is not a battle but a collaboration that further helps us understand the intricate workings of human emotion. "Any sufficiently advanced technology is indistinguishable from magic." Arthur C. Clarke

20mejherrMay 27, 2024

Fairly rare one of a kind film. A high concept film that actually stays true to its core idea yet without losing viewer interest. Some irony here. While the film never becomes completely predictable, even to a jaded reviewer like this one, its process of de-constructing human relationship (brilliant, and better than all Woody Allen's films combined) generates the sequential "connections" with the viewer (ie, experiences that every viewer can relate to) which in turn keep the empathy going long after the initial sci fi "wow" is gone. Watching this (as an aside) you have to wonder if Scarlett Johansson's career can get any more interesting? In the Marvel films she plays an uber-woman, In LUCY she a woman who evolves beyond evolution itself. And here yet again she plays an OS that transcends reality. Makes for a nice resume. Notice how Amy Adams plays every scene with no makeup? Talk about a director making every effort to keep an actor's natural beauty from hijacking the film...?

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