JoshMein

Everything That's Wrong With You

· fashion

The Elusive Friendship in the Digital Age

The latest film from Slovenian writer-director Urša Menart, “Everything That’s Wrong With You,” is a nuanced exploration of relationships forged online. In an era where social media platforms have become the primary means of connection for many young adults, few films delve into this phenomenon with the same level of subtlety.

The film follows Maruša (Anuša Kodelja), a young woman who finds solace in the virtual world after her mother’s passing. She forms an online friendship with Alja (Klara Kuk), a wannabe influencer struggling to maintain her mental health. As they transition from digital acquaintances to real-life friends, their relationship becomes increasingly complicated.

At first glance, “Everything That’s Wrong With You” appears to be a charming exploration of female friendship, reminiscent of indie classics like “Frances Ha.” Menart’s script captures the chemistry between Kodelja and Kuk with ease. The film’s use of desaturated colors and coastal setting provides a fitting backdrop for their blossoming relationship.

However, as Maruša and Alja spend more time together, the dynamics of their friendship begin to fray. Menart tempers her portrayal of codependency with a delicately irreverent sense of humor. The film raises important questions about the expectations placed on individuals in online relationships, particularly women who often find themselves playing caretaker roles.

The ease with which people connect online has created unrealistic expectations about relationships in general. We’re constantly bombarded with curated highlight reels of other people’s lives, making it difficult to distinguish between the genuine and the fabricated. This dichotomy between digital and real-life friendships is not unique to “Everything That’s Wrong With You.”

Menart’s film explores the impact of social media on human connections without being a critique of the platforms themselves. As we continue to navigate this digital landscape, it’s essential that we recognize both the benefits and limitations of online relationships. The film serves as a timely reminder that true friendships require effort, vulnerability, and a willingness to confront our own flaws.

The climax of “Everything That’s Wrong With You” feels almost inevitable given the dynamics established earlier in the story. While it may not be an original conclusion, Menart’s script sets up the conflict and its aftermath effectively. Ultimately, the film is a modest but effective exploration of the complexities of human connection in the digital age.

As we watch Maruša and Alja navigate their relationship, it’s impossible not to think about our own experiences with online friendships. Have you ever found yourself investing too much emotional energy into a virtual connection? Do you feel pressure to maintain a certain image or persona online? These are questions that “Everything That’s Wrong With You” raises in a thoughtful and nuanced manner.

The film may not be a game-changer, but it’s an important addition to the conversation about relationships in the digital age. As we continue to rely on social media platforms to connect with others, it’s essential that we prioritize authentic experiences over curated ones. “Everything That’s Wrong With You” serves as a poignant reminder of the importance of human connection and the need for empathy in our increasingly isolating world.

Menart’s sophomore feature may not launch her into the international spotlight just yet, but it’s a step in the right direction. As we await more films that explore this complex topic, “Everything That’s Wrong With You” stands as a testament to the power of nuanced storytelling and the importance of human connection in our increasingly digital lives.

Ultimately, Menart’s film is not about the characters themselves, but rather the relationships they forge online and offline. It’s a subtle yet powerful exploration of the ways in which technology has altered the way we interact with one another. As we navigate this brave new world, it’s essential that we prioritize empathy, authenticity, and genuine human connection – values that “Everything That’s Wrong With You” celebrates through its poignant portrayal of two young women struggling to find their place in a chaotic world.

Reader Views

  • TH
    Theo H. · menswear writer

    While "Everything That's Wrong With You" astutely critiques the perils of codependency in online relationships, it glosses over a crucial point: our own complicity in perpetuating these dynamics. We're not just victims of curated social media; we also participate in creating and consuming this pseudo-content. The film would benefit from an exploration of how our constant scrolling and liking contribute to the very problems it's trying to address – namely, the pressure on women to present a flawless digital persona and cater to their online friendships.

  • TC
    The Closet Desk · editorial

    While Urša Menart's film is praised for its nuanced exploration of online relationships, I think it's worth considering the potential class implications of this narrative. Maruša and Alja's struggles are framed as a universal experience, but what about those who lack the economic means to pursue "influencer" lifestyles or take extended breaks from work to focus on friendships? The film's portrayal of online connections as a panacea for social isolation neglects the ways in which these relationships can also be symptomatic of deeper societal problems.

  • NB
    Nina B. · stylist

    What I appreciate about this film is its nuanced portrayal of online relationships, but what's missing from the conversation is the economic context in which these friendships form. The rise of influencer culture and social media platforms has created a vast network of unpaid laborers who are expected to maintain an online presence without compensation. Maruša and Alja's friendship raises questions not just about codependency, but also about the exploitation of women's emotional labor in online spaces.

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