Human responsibility is complex; priorities are often contradictory. In the Twentieth Century, postmodern writers and artists transformed mediums to allow for paradox, but it was not until the twenty-first-century film Connected: An Autoblogography About Love, Death, & Technology that audiences could collectively experience the visual, textual, and emotional beauty of holding complex inconsistencies while moving toward personal growth and global connection. Director Tiffany Shlain exposes the journey by which the global film she set out to make began to kick, cry, and nurse itself into being something more authentic-- more connected--than any one viewer can articulate. Perhaps there's irony in merely writing a review of a film whose visually articulated thesis proposes the new century's possibilities are unleashed by the exponential increase in access to images. Shlain's hypothesis that a technologically interconnected world exercises each individual's image centers can be evidenced now--from the drifts of snow over which Shlain's father first released her from his view to the digitally mastered web of connections that refuse to release the globe from its collective potential, the images in Connected transform viewers into visionaries who don't have to eliminate the contradictions of their connectedness.