After Yang

Slow and thoughtful, but never boring. Kogonada continues his winning streak.

A quiet and deliciously soulful sci-fi drama about mortality and what robots can know, feel and understand. Rather than exploring the relating themes in a traditional genre plot Kogonada have his characters meditate on them for extended periods of time in order to let his audience be able to dwell on them too. When actors repeat lines (in this case because of the distancing editing choice to show similar takes of the same events), it always disrupts my viewing experience so that bugged me a bit.

One of the best opening credits scenes I've seen.

It didn't hit me like I would have wanted it to. Felt slow, long and boring even though the themes could have been rich.

Gentle and exploratory theme on robot love, complemented by some gentle acting from Farrel and co., digging gingerly into this mid-budget futuristic vision. Some may complain about the Malick-esque editing, but given the characters are looking through the android's memories, it seems perfectly justified, and embellishes the film's inquisitive mood. Stands on the shoulders of previous thematically similar works, but stands strong as a worthy successor.

Is this a new Black Mirror episode? The visuals and aesthetics carry this film. Such a perfect atmosphere that can obviously be expected from an A24 film. It is quite slow and sometimes you feel like it isn't going anywhere.

The characters in Columbus felt like real people with real problems. The characters here feel like aliens, the world they live in feels cold and sterile. And there is just not enough style or substance to sustain it. The tone and score are trying so hard to get me to feel something, but I just couldn't get into it much. A strong concept, with some cool moments, but it falls flat.

I don’t know how to phrase just how beautiful and touching I found this movie but I’m writing this through tears and Kogonada is amazing

Kogonada grapples with expressing the inexpressible. How do we define our passions, our experiences; in short, what is it to be human? Perhaps it’s fitting that I never really engaged with this on an emotional level. It's intellectually compelling and aesthetically arresting, but it also feels cold and clinical in a way that prevented me from fully embracing this. I felt like this should have hit me in the gut, but I’ll settle for being quietly soothed. Plus, that title sequence is one for ages.

After Yang is a curious film that blends technological sci-fi with themes of human loss & growth. The satire of Apple's T&C's is amusing. I liked the description of tree grafting as a metaphor for adoption. I found the idea of an AI sibling to encourage a sense of "culture & heritage" to be disheartening. Farrell delivers a good performance, but I don't like him enough to be invested in his dimly-lit emotional journey. There were just too many persistent flaws for the film to resonate with me.

so so great. Kogonada's so in love with form and formalism, but it never feels like he's looking down at viewers who enter this movie w/o a love for Ozu. restrained and imaginative. whole cast rides with the pace and tone. also there's a visual that looks like the orange version of the PlayStation 2 startup. so it got me.

That was a bizarre watch. I went into this feeling like I could use a good cry, as it was recommended to me as an emotional film. I did shed a few tears, but I didn't get that cathartic ugly-cry catharsis I was looking foor. I'm generally all for the sort of futuristic sci-fi setting this movie has, but the ethical dilemma presented is much more interesting on paper than the way it's executed here. Some scenes are exciting, some are emotional but a lot of scenes also really drag on.

I guess I'm just not seeing it. The meditative style is nice, but this feels like a closed system to me, reminiscent of Christopher's Nolan's worlds in that way. The last few sequences of Yang's chosen memories are poignant, but more to me for how the family of three is impacted rather than what I think is the film's primary purpose--to engender sympathy for Yang's robot-person. The dancing was cool though.

Memories can be a so powerful narrative tool, and I don't think this movie really hit it home as it could have done.

I appreciate how this movie leaves the viewer room to think and contemplate things themselves. Contemplative/melancholic sci fi is one of my favorite genres. The soundtrack is pretty generic classical stuff but much of the movie is silent which allows you to think for yourself. The whole movie has a cozy look and lighting to it

A slight improvement on Columbus but that’s mainly due to Farrell’s abilities.

Sad robot love story with the A24 sparkle, fragmented in the way that films exploring memory often are. This works in some ways, but the whole of it struggles to transcend the sum of its parts - some thoughtful scenes loosely stitched together with relaxing nature shots and syrupy home movie moments by desperately inspirational piano music.

for meditative different view of the future also artistic

A beautiful catalyst for existential angst

It’s touching at times and the daughter delivers, but the movie felt like it was lacking much of the time. It had great visuals

While “After Yang” may not be as accessible to all audiences, it is a touching and thoughtful film that effectively explores themes of family, cultural identity, and the complexities of memory. Kogonada’s stripped-down approach and the engrossing ensemble cast make this film worth watching for those who appreciate introspective sci-fi.

Beautiful and sad story. Looks and sounds great on the screen.

A melancholy sci-fi lullaby that, if you're down to get on its low-key wavelength, packs a huge emotional wallop. Colin Farrell's character is the patron saint of beleaguered dads everywhere.

An incredibly gentle film, crafted with immense care. It treats its themes of otherness, relationship, and memory with an achingly soft touch, and I can only infer the depth of its commentary on the Asian-American experience. Gorgeously arrayed and beautifully kind.

Difficile de faire plus soporifique. L'into était dantesque, ça fait du bien de voir le ténébreux Colin Farrell danser. Quel bellâtre, ce rôle de papa au grand cœur lui va à ravir. Seulement voilà, l'histoire, si tant est qu'il y en est une, est parsemée de longueurs et de monologues inutiles (le café, whaaat?). J'ai vraiment apprécié l'ambiance, mais j'attendais la fin. L'univers SF est totalement sous-exploité.

audiovisual 68 acting 65 overall feeling 62 avg 65

A fairly beautiful and at times touching film that I am glad to have experienced. However, it is awfully slow and probably would've worked better as a short(er) film. So not without its imperfections, but enough beauty and nice ideas to make it worthwhile.

Farrell is great in this but as a whole left me a bit cold

This is a quite moving, poignant film about memories, loss and grief. I really liked it. It handles the topics well and its not tacky, its quite thought provoking. I thought Colin Farrell did well playing the father figure, Jake, as did Malea Emma Tjandrawidjaja as Mika, the daughter. It is a bit dark (I mean that physically, in terms of lighting), so if your in a bright room, then this may be an issue. Ocassionally I struggled to entirely tell what was going on. Its a film I highly recommend.

After Yang starts out slow, but ends up being a really beautiful and poignant collection of moments. Much like Columbus, Kogonada shows an amazing eye for cinematography. The acting is rather low-key and somewhat muted, which really serves the gentle and melancholic nature of the screenplay. After Yang doesn't quite reach the level of "art film", but I still think it is something to experience more so than something to be outright enjoyed.

It would've been such a rewarding sci-fi tale on how late capitalism drains our energies and keeps us distant from the things we really matter to the point we buy a techno sapiens to help raise your kid, but it's just too bad the film is more committed to delivering cathartic perfect shots than an actual, dramatically poignant experience.

I like what it's doing, but I keep waiting for it to surprise me. And it never really does.

Ponderously dull sci-fi effort sometimes echoes Spielberg’s AI, imagining what that story might be like from the point of view of the flat, underdeveloped parents – there is something seductive about Kogonada’s precise and stately framing, especially initially, but the screenplay makes no real effort to capitalise on the intriguing ideas it raises. Notable for a beautifully realised (if incongruous) opening title sequence, marking the high point of energy for the film.

An artsy film (complete with the camera not moving much). Visuals aren't THAT interesting but do feel a little personal, so I forgive it. The kid and Yang do most of the heavy lifting, other characters are fine. The emotional beats do hit sometimes. Dialogue is pleasant. Characters just drift along, barely changing their tone, that's how you know it's serious. But in all earnestness, while it's not as deep as it thinks, I still like the message and how it explores it. Slow, but not boring.

A staunchly unmoving camera viewing the main family with the cold indifference of security footage, interspersed with the home movies of a robot. I can't really say if it scratches below the surface of its technologically dystopian, post-cultural society, but it's built around a Lily Chou-Chou song so all is forgiven.

Göz kamaştırıcı görselliği, harika yönetmenliği ve oyunculuğu filmi kurtarsa da filmi izlerken hikâye, ileride ne olacak merak ettirmiyor.

Wasrefurbished+wastohelpdaughterwithchineseheritage+goesintomemories-5days1stownerabit-actuallyaclonefriend-basicallygf+lastownergotrefurbishedtoo+couldntfixithinkbutgonnaletthemstudymemories

kogonada's technical acumen is obvious and the way he forms the fragmented nature of reality here is great. in a way, the film feels like a non-human capturing a human-like understanding of human life. and while this is appealing considering what it is about, it isn't quite compelling as a film - it feels cold and technical. so it works on a conceptual level, but it lacks that emotional core which makes one *feel* a narrative.

Rewatched: 6.05.22

Tırtılın dünyanın sonu dediği şeye ustası kelebek der.

this would be a cracking short story, but it just did not connect with me as a film. lovely themes, however

Basically a slow Black Mirror ep

To call After Yang a film about grief is accurate but limited, because it’s a truly prismatic work, reflecting on new themes as the story unfolds and the discoveries made about Yang’s interiority open up other thematic dimensions. Arriving in our own lives after a period of so much loss and estrangement, where everyday life often felt like melancholy science fiction, After Yang is emotionally overwhelming, even though it often seems, on the surface, pristine and cool-to-the-touch.