What’s relevant are the choices we make and how we find happiness in whatever context we find ourselves. And depending on how you editorialise it could sound dystopian or utopian. “We could have sat here in this exact hotel room 100 years ago and had a talk about 2014. “I don’t think that the distinction between utopian and dystopian is a black-and-white distinction,” says the film-maker. Basically, it's writer-director Jonze ripping out your heart and stomping on it forever. Instead, it's a cerebral, full-blown weepie, an ideal date movie – released here on Valentine's Day – and an even better break-up picture. It could, one feels, have belonged to the same unlovely subset of man-machine interfaces as S1mone. Her, as audacious a cinematic dissection of love as we have seen since Eternal Sunshine of the Spotless Mind, traces the relationship between sad-sack writer Theodore (Joaquin Phoenix) and Samantha, his computer's intuitive operating system, as voiced with foxy aplomb by Scarlett Johansson. The punchline to this tomfoolery is that Spike Jonze has just made the most mature, achingly romantic film of his career. ![]() Doubly so when he emerges from his salad with a goofy grin and bits of lettuce and shrimp attached: "Where was I?" Up close, the director of Being John Malkovich and Adaptation looks a good deal more boyish than his 44 years. ![]() He's polite about it, of course: "Do you mind if I put my face in my food?" he inquires, pre-dive. But 20 minutes after he sits down across the table from me, he plunges his head into lunch. Dressed in a sharp grey suit and crisp white shirt, Spike Jonze does not seem properly attired for a one-man food fight.
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