The Social Network

Where other directors test their own limits, David Fincher peacefully paints a picture that defines perfection. The Social Network won’t get to you with details, but with its ability to speak to the audience with such a banal story that could, on a smaller scale of course, be happening at every other university right now. This is Fincher’s most modest film in terms of form, but his densest in terms of content, and its most powerful moment is a shot of the protagonist, who has gained and lost everything at the same time. It’s a conversation movie, portraying relationships in university dorms, that doesn’t celebrate the American dream of the new millennium but shows the price that one has to pay for it. Without any sentiment or defense of positive values – what we see here is rather the absence of those. The reason that Fincher conceived the race on water the way he did is because any other filmmaker in his place wouldn’t even have thought of it. The film is a commercial move on the studio’s part (a low budget plus Facebook’s popularity equals certain profit), but thanks to the filmmaking quality, it’s also an exemplary character study, valuable as a record of the period and the people living in it, which makes it the biggest cultural and film event since United 93. The Social Network is the most deserving candidate for the (nonexistent) Academy Award for the best independent film (like Juno, Sideways, etc.) to come along in many years. (06.11.2010)

Jakub Smutný commented on the video of user David Fincher: “Good job, mate.” This comment was shared by 240 users of Rotten Tomatoes. David Fincher joined the group "Waiting for the Oscar." Aaron Sorkin became a fan of the page "AwEsOme StORies." User Lucinka Mišiczka Šmudlinková wrote on the wall of user The Social Network: “I didn’t like it at all, very boring, but it has the actor of Zombieland :-*.” Jakub Smutný joined the group “People against teenagers in cinemas”. David Fincher wrote a message on the wall of user Mark Zuckeberg: "Sry, bro." User Film Fans is friends with David Fincher, Jesse Eisenberg and Justin Timberlake. You and Film Fans have 3 friends in common. Jakub Smutný is attending the event “Other screening.” I like this. Share on Facebook. (31.10.2010)

Eleven years have passed, and with it Fincher's visual exhibitionism, and here is a film that assaults the senses in the same way that Fight Club once did. The generational thinking that it's no longer about breaking out of the system, but being part of it is "awfully cool." I’m not a nerd, nor do I understand IT, but Zuckerberg does. Like. (09.11.2010)

I'm not enticed, but there's one thing I liked about the film - its conception is totally "anti-Facebook", when it emphasizes the "weight" of the film language, the precise construction of dialogues and the rapid combination of space-time planes. As a result, it feels like a biased but distanced testimony about one social phenomenon, a group of people who today shape society as strongly as state apparatuses. I get the frequent comparisons to There Will Be Blood, even though Fincher is losing here all across the board. Zuckerberg and Plainview are characters who share their passion for fleeting essence, but in this respect, PTA managed to descend much deeper than David, who seems at times enchanted by superficial magic (e.g., rowing races, which are aesthetically riveting, but kind of out of concept) and, above all, limited by the fact that Sorkin, for obvious reasons, cannot be as controversial in Mark's psychology. The motivation for the whole social experiment sounds quite constructed after all. But all respect for the fact that for two hours I watched people I do not understand and despise in a way, and I had an excellent time and understood a lot. And without scruples, I say: Zuckerberg may be a weird son of a bitch, but he's definitely a big hot-shot. By being anti-social, he captured something that has been present in the human psyche and society since ancient times. (30.10.2010)

A masterpiece that matures with each viewing. Brilliantly directed, inventively scored by Reznor, perfectly edited, with flawless casting. First of all – unknown to me until now – Andrew Garfield impressed me with his masterful performance (great hope for the next Spider-Man), but the slightly autistic talented asocial Jesse Eisenberg is not far behind him, I believe that in both cases Oscar nominations at least are certain. Every era had a significant film that characterised it, went to the heart of its essence and became timeless, and Fincher's work, in these times of the information technology boom and the fearless entrepreneurship of the young generation, is such a film. (15.01.2011)