A24 | Release Date: March 4, 2022
7.1
USER SCORE
Generally favorable reviews based on 59 Ratings
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41
Mixed:
12
Negative:
6
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5
TVJerryMar 6, 2022
Colin Farrell and Jodie Turner-Smith play a married couple who adopt a Chinese girl. To help her appreciate her heritage, they buy an Asian android (or as they call it, a technosapien). When he malfunctions, Farrell goes on a quest to repairColin Farrell and Jodie Turner-Smith play a married couple who adopt a Chinese girl. To help her appreciate her heritage, they buy an Asian android (or as they call it, a technosapien). When he malfunctions, Farrell goes on a quest to repair him, while examining their lives without him. This is subtly set in the future, other than the android, hints of a self-driving car and a distant cityscape, there's almost nothing to suggest a sci-fi world. Instead, this is an intimate personal drama with plenty of lingering wide shots, a snail's pace and lots of silence. As a result, it's a dry assessment of the family that lacks much emotion or warmth. Expand
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4
Mauro_LanariDec 1, 2022
(Mauro Lanari)
Farrell fathoms the sphere of robotic AI of Dick and Scott Sr. in Lanthimos mode ("The Lobster" and "The Killing of a Sacred Deer"): when depressogenic rhetoric is passed off as lyrical existential crisis. Sakamoto's music adds
(Mauro Lanari)
Farrell fathoms the sphere of robotic AI of Dick and Scott Sr. in Lanthimos mode ("The Lobster" and "The Killing of a Sacred Deer"): when depressogenic rhetoric is passed off as lyrical existential crisis. Sakamoto's music adds an oriental touch. Not my cup of tea, in this case also literally.
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5
OctaneNitroApr 11, 2022
After Yang spends so much time trying to craft a thematically-rich piece of high art, it fails to pay enough attention to the fundamentals. The film doesn't develop its setting at all, while also lacking interesting characters and aAfter Yang spends so much time trying to craft a thematically-rich piece of high art, it fails to pay enough attention to the fundamentals. The film doesn't develop its setting at all, while also lacking interesting characters and a comprehensible plot. Sadly, whispered monologues and esoteric flashbacks can only get you so far - at some point, you actually have to DO something with the themes and foundations you've laid.

Arguably the most engaging part of the film is how it portrays human connections in a world governed by cold technology, with the same privacy and "you'll own nothing and enjoy it" issues present in our world today. Unfortunately, the film's central family dynamic is similarly cold: "the good times" are hardly shown at all, and we're simply told that Yang was a beloved part of the family via unconvincing dialogue.

The film's plot is equally sparse. Despite being fairly focused at first, after a while, it devolves into flashback after flashback, and conversation after slow conversation, killing any forward momentum before the film unceremoniously ends. At points, it actually becomes difficult to follow, with characters (some with the same name?) popping up for a scene or two and then vanishing.

Overall, it's clear that this was created strictly for an indie, film festival audience. There's nothing wrong with that, but After Yang is far from a modern classic. It's bitter medicine, reluctantly taken and dubiously effective.
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