In this movie the images are telling the story with well-chosen cinematic atmospheres in clean cut frames, which leaves all the room for the spectator to use its own imagination. These images consist either out of close-ups of the actors, skylines or street views. Choosing this approach makes light the main actor that gives scenes intention, tension, juxtaposition, focus and gaze.
Her is composed in a clear colour scheme of soft pastels like grey, brown and blue, creating a base of the time frame in this movie. Fresher colours like green, yellow, orange, purple, blue and red are used as highlights. Together they seem to create a futuristic version of the sixties.
The light in Her starts of soft and even, giving its environment a gentle appearance that is quite monotone. As the main character Theodore falls in love the light becomes more intense in the form of overexposed frames, moments in which the spectator looks into the sun and encounters brighter light bulbs in the interior design and in the street. Closer to the end of the movie where Theodore is confused and in conflict with himself, the light gets darker and harsher, creating contrasts as shades, lines and blurred light sources.
Her is full of playful details such as the safety pin in Theodore’s blouse to keep the device at the correct height. Intonations of the voices are another well composed element. Where Theodore mumbles, Samantha (system voice) is hoarse. Their voices both narrate the movie and make the spectators of it fantasize how the unseen bits would look. The whole film is close to reality, but leaves you pleasantly wonder on how this new reality is constructed.