Aimlessness and indecision are their burden and identification marks as they indolently go about their daily business most of which takes place online or over the phone. Threaded together are the inconstant lives of young middle class white Americans wiggling out of a seemingly eternal adolescence. The crisis of social imagination and the separation of affects and intellect from the body are the true protagonists of LOL. The film courageously ponders on the paradox of social media that simultaneously enhance and castrate relational exchanges. SwanbergвЂ™s second feature is the first and only film, to our knowledge, to have reflected and explored a quintessentially contemporary issue: the impact of networking technologies on physical interaction. The uploading of relations onto the digital (in)security of virtuality is disrupted and underpinned by a harrowing longing for human connections. The epochal significance of LOL lies precisely in its articulation of this anxious failure to communicate face to face. In fact, the film stages the willing entrapment of wired souls struggling between two competing regimes, physical and virtual.ДЄbove: Collective loneliness. And has done so avoiding complacency as well as condescension, paying close attention to what this paradigmatic shift meant to our affective sphere.

LOL is to cinema what text messages and tweets are to orality and literacy, a new autistic wave of expressive self-referentiality those who dislike it should not blame Swanberg, for he has not invented it but simply documented it. SwanbergвЂ™s film feels like the most sincere clinical report on the immediate consequences of this new networked sociality, and definitely benefits from an insider point of view. The ability to connect with everyone ushered a widespread inability to be with anyone, (meaning)fully. Home technology and the inundation of social media were the true (anti-social) breakthroughs of the 00s. Worldwide communication and self-documentation suddenly became a daily possibility to some, obsessive compulsion to many.

The consumer-entertainment complex fed on endless remakes and rehashed franchises, packaging films into aВ colorfulВ glaze intended for blind acceptance and unconditionalВ admiration. An unprecedented amount of cultural data clogged our media landscape offering a sense of endless possibilities while simultaneously causing a sort of temporal standstill. The past, immediate and remote, constituted our creative playground of choice. Cinema, but also music and literature, did not break away from their past (hi)stories in any meaningful or substantial way. It is the Western vacuum of the 21st century whose first decade was marked by a tangible curb in the forward surge of pop cultural history. A generational pamphlet that, in tune with its times, neither affirms nor negates, let alone criticizes, its predicament, but simply registers the vacuum within which it occurs.

Franco вЂњBifoвЂќ Berardi in The Uprising, On Poetry and FinanceДЇor those who came of age in the nondescript 2000s, an era characterised by securitarian paranoia and lack of future prospects, Joe SwanbergвЂ™s LOL (2006) might as well read as their very own (purposeless) existential manifesto. Desire is diverted from physical contact and invested in the abstract field of simulated seduction, in the infinite space of the image. вЂњ The finacialization of the capitalist economy implies a growing abstraction of work from its useful function, and of language from its bodily dimension.

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