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When we look at cinema and television narratives set in the future, things don’t look very bright literally or figuratively. The color palette is dark, the land is barren, and the social constructs are totally warped. Sometimes, though, we do get a glimpse where the future appears, dare I say, warm and welcoming. Spike Jonze isn’t a stranger to brighter hues. His films, “Being John Malkovich,” “Adaptation,” and most notably “Where The Wild Things Are,” really capitalize on his ingenuity of color. But nothing tops his hipster-friendly futuristic film, “Her.”

WATCH: Fall In Love With The Symmetry Of Spike Jonze’s ‘Her’ & Sofia Coppola’s ‘Lost In Translation’ In This Video Mashup

In a video essay by kaptainkristian, we explore “Her” and the possible future we could experience. For “Her,” Jonze worked with frequent collaborator and Production Designer K.K. Barrett. Beyond his work with Jonze, Barrett is also known for designing the look of Sofia Coppola‘s, “Marie Antoinette” and “Lost In Translation.” As the video essay details, when you look at “Lost in Translation” and “Her,” there are some pretty uncanny resemblances. Not just images but overall design.

READ MORE: Explore Loneliness, Longing, And Conformity In Spike Jonze’s ‘Her’

And with the design of a sprawling, futuristic city, Barrett was able to combine elements of Los Angeles and Shanghai. It’s so seamlessly done in the film. We believe the world that we’re in and, honestly, we’re relieved to feel the respite from the dark, dystopian futures generally seen on screen. Computers are framed like portraits in “Her.” And there are open windows with natural light. The warmth that we get from the film’s aesthetic is a befitting complement to the deep story of love and connection. It’s a bold and lush look that offers something refreshing in comparison to the bleak portraits of the future that we generally see.