As a film that proposes an unusual blend of science-fiction tropes with those of romance and drama, Spike Jonze’s Her offers a somewhat unique perspective on our libidinal investment in technological objects. 1 One could even submit that the film uses this investment to problematize contemporary philosophical questions related to love, and more specifically to love in an age of growing complexities within the interfacing of desire and its associated fantasies. Set in a not-too-distant future, the film tells the story of the recently separated Theodor (Joachim Phoenix) who ends up falling in love and building a relationship with Samantha (Scarlett Johansson), the voice of his new artificially intelligent operating system. Of course, their relation is an improbable one, as it relies on a non-reciprocal configuration of desire, fantasy and the gaze as the trigger for both. Through this specific aspect of a film that puts forth a particular rendition of desire and fantasy, as throughout the evolution of their relation, Theodor and Samantha relate to each other in a way that is specific to the interfacing of human relations in a not-too-distant futuristic technological era. As such, Her invites us to rethink our growing dependence on various interfaces, as well as their impact on our intersubjective relations and their reliance on desire, otherness and love. With these opening remarks in mind, I will focus on a Lacanian reading of Her based on its highly unusual depiction of desire as well as the fantasy that sustains it. I will first draw attention to the notion of interface developed by André Nusselder; his psychoanalytic conception of fantasy as interface, as a ‘medium between object and subject’, will allow me to study the articulation