After Yang
A24 | Release Date: March 4, 2022 CRITIC SCORE DISTRIBUTION
78
METASCORE
Generally favorable reviews based on 44 Critic Reviews
Positive:
35
Mixed:
8
Negative:
1
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Critic Reviews

Critic scorePublicationBy date
60
The Observer (UK)Wendy IdeSep 26, 2022
I’m not convinced that the picture carries quite the philosophical weight that it thinks it does. Still, it’s an undeniably gorgeous place to lose yourself for a while. Read full review
60
Film ThreatAlan NgJan 23, 2022
After Yang is a good-looking movie, especially for one that’s mostly talking and conversations, the acting is good — an easy feat for seasoned actor Colin Farrell and Malea Emma Tjandrawidjaja is adorable as hell. But unfortunately, it misses its storytelling potential by focusing too much of our attention on the wrong story elements. Read full review
50
Washington PostAnn HornadayMar 2, 2022
After Yang again demonstrates Kogonada’s mastery of form, framing and composition. But audiences will be forgiven for wanting to reach through the screen to mess it up a little, if only to inject some recognizable warmth and spontaneity. Read full review
50
Boston GlobeMark FeeneyMar 2, 2022
The situation provides a framework for the writer-director, Kogonada (“Columbus,” 2017), to dwell on the workings of memory and the various meanings of mortality and family. This is rich and challenging material. “After Yang,” while pleasant enough and certainly distinctive, isn’t altogether up to the challenge. Read full review
50
The New YorkerAnthony LaneFeb 28, 2022
You may start to wish you’d gone to see the new “Jackass” movie instead. Read full review
50
Screen RantMae AbdulbakiJan 25, 2022
With such a slow and empty buildup, After Yang often feels as disconnected as most everyone is in the film. Read full review
50
The Film StageRory O'ConnorJul 11, 2021
Though ambitious in reach, its tone is one-note, stilted, and saccharine sweet; its ideas as disjointed as they are ultimately unsatisfying. Read full review
50
Slant MagazinePat BrownJul 10, 2021
Kogonada’s film doesn’t trust us to recognize the legitimacy of the other’s being without filtering it solely through the lenses of the ruling class. Read full review
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