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After Yang

After Yang is a 2021 drama film written and directed by in his second feature following (2017). The story is set in a near-future world where companions, known as "techno-sapiens," are integrated into family life, and it centers on a family's reckoning with love, connection, and loss after their child, Yang, malfunctions. Starring as the father Jake, as his wife Kyra, Malea Emma Tjandrawidjaja as their adopted daughter Mika, and voicing the Yang, the film explores themes of memory, identity, and humanity through intimate, contemplative storytelling. The plot follows Jake's quest to repair Yang, uncovering hidden aspects of the android's experiences that prompt reflections on his own family's dynamics and overlooked emotional bonds. Adapted from the short story "Saying Goodbye to Yang" by Alexander Weinstein, the screenplay delves into philosophical questions about artificial life and parental responsibility without relying on high-stakes action, instead emphasizing quiet emotional depth and visual precision characteristic of Kogonada's style. Supporting cast includes Haley Lu Richardson, Ritchie Coster, Sarita Choudhury, and Clifton Collins Jr., contributing to the film's portrayal of a multicultural, adoptive family navigating technological integration. After Yang had its world premiere in the section of the on July 8, 2021, where it received positive early buzz for its meditative approach to sci-fi. It was theatrically released in the United States on March 4, 2022, in a limited capacity by , with simultaneous streaming availability. Produced on a modest budget, the film was shot in suburbs to evoke a subtle futuristic suburbia, blending practical effects with digital enhancements for the android elements. Critically acclaimed for its emotional resonance and innovative take on genre tropes, After Yang holds an 89% approval rating on based on 239 reviews, with critics praising its humanism and Farrell's nuanced performance. It earned nominations for two , including Best Director and Best Screenplay for , and won the Chlotrudis Award for Best Director and Best Movie in 2023. The film also received recognition from the for Farrell's leading role, underscoring its impact on discussions of ethics and family in contemporary .

Synopsis

Plot

In a near-future world where is seamlessly integrated into daily life, Jake and Kyra maintain a suburban home with their adopted daughter, , and their companion, , a "super-toy" designed to assist with childcare and foster cultural connections. Yang, programmed with knowledge of Chinese heritage, plays a vital role in helping Mika explore her roots through activities like ceremonies and stories, strengthening bonds in a society where techno-sapiens like Yang are common household aids. The narrative tension builds when Yang suddenly malfunctions during a family tea ceremony, his eyes glazing over as he becomes unresponsive, leaving Mika distraught and the family grappling with an unexpected void. Jake, determined to fulfill a to his daughter, embarks on a quest to repair Yang, first taking him to Russ, a backstreet recommended by their George, who attempts an illegal repair but discovers the issue is irreplaceable and extracts a memory chip. Russ directs Jake to Cleo, a at a techno-sapien . There, Cleo reveals a hidden compartment in Yang's head containing a camera that has recorded his entire "life," allowing Jake to access these fragmented memories for the first time. As delves into the recordings, he uncovers intimate glimpses of Yang's experiences, including tender moments teaching about her heritage, quiet interactions with the , and a clandestine relationship with their neighbor Ada, a young woman who shares a deep emotional bond with the . These memories also reveal broader societal elements, such as the lifecycle of techno-sapiens—from to —and poignant scenes like Yang a flower onto a , symbolizing enduring connections amid transience. The discoveries strain dynamics further, highlighting how Yang's presence had bridged cultural gaps and provided unspoken emotional , while exposing Jake's own overlooked vulnerabilities. Ultimately, facing the irreversible damage to Yang's body, Jake chooses to preserve the android's memories by uploading them to a archive, ensuring Yang's essence endures beyond physical form rather than opting for . This decision allows and the family to revisit cherished moments, transforming their grief into a reflective of loss in a techno-infused world.

Cast

The film features an that brings depth to its intimate portrayal of family dynamics in a near-future setting. Led by , the actors convey the emotional nuances of human- relationships through subtle, grounded performances. Principal cast
  • as Jake, the devoted father and owner of a tea shop who navigates family challenges.
  • as Kyra, the mother managing professional and familial responsibilities.
  • Malea Emma Tjandrawidjaja as Mika, the adopted daughter closely bonded with the family's companion.
  • as Yang, the sibling providing companionship and support to the family.
  • as Ada, Jake's neighbor with ties to the family's past.
  • as Cleo, the curator specializing in techno-sapien artifacts.
  • as George, Jake's friend who assists in resolving family issues.
Farrell, a father himself, was particularly drawn to the project for its exploration of parental bonds and loss, which aligned with his personal experiences. Min's portrayal of Yang involved embodying the android's serene yet pivotal in the household, blending physical presence with digital elements to highlight themes of and . Supporting cast
Notable supporting roles include as Lillian, the family matriarch offering wisdom, and as Russ, a backstreet technician who examines . These performances enhance the film's focus on interconnected relationships without overshadowing the core family unit.

Background and Production

Source material

The film After Yang is adapted from the "Saying Goodbye to Yang" by American author Alexander Weinstein, which first appeared as the opening piece in his debut collection Children of the New World, published in 2016 by . The story centers on a family's companion named , purchased as a figure for their adopted , who malfunctions and uncovers a hidden archive of the family's intimate memories, prompting reflections on and attachment. Weinstein, a writer and director of the Martha's Vineyard Institute of , specializes in that examines technology's subtle erosion of human emotions and relationships, drawing from his background in and . The collection Children of the New World received acclaim upon release, selected as a New York Times Notable Book and a best book of the year by and Electric Literature, with critics praising its prescient exploration of near-future anxieties through intimate narratives. "Saying Goodbye to Yang" in particular garnered attention in literary circles for its understated portrayal of grief over an artificial being, evoking comparisons to works by authors like on artificial humanity. The story's publication marked Weinstein's emergence as a voice in contemporary , with subsequent anthologies and adaptations amplifying its reach. In adapting the material, director expanded the original's concise, one-day family drama focused primarily on parental bereavement into a broader meditation on AI's role in society and intergenerational heritage. His introduces elements absent from the source, such as ritualistic tea ceremonies symbolizing cultural continuity and projections of Yang's archived memories that visualize the family's fragmented history, enhancing the visual while preserving the of through . These additions reflect Kogonada's intent to infuse the narrative with his own perspective on fatherhood and Asian-American identity, transforming the story's emotional core into a more expansive cinematic exploration.

Development

The development of After Yang began in 2018 when Cinereach and Per Capita Productions acquired the rights to Alexander Weinstein's 2016 short story "Saying Goodbye to Yang" and attached Kogonada as writer and director, drawn from his acclaimed debut feature Columbus (2017) and his editing work on The Farewell (2019). The project was publicly announced on February 28, 2019, with A24 coming on board to finance and distribute, marking Kogonada's follow-up to Columbus as a science fiction drama. Casting commenced with attached as the lead in the February 2019 announcement, portraying the family patriarch . By April 2019, additional cast members including as Yang and Malea Emma Tjandrawidjaja as the daughter Mika were confirmed, followed by as Jake's wife Kyra in June 2019. The production team was assembled under producers Andrew Goldman, Caroline Kaplan, Paul Mezey, and Theresa Park, with an estimated budget of $9 million. Kogonada's creative vision centered on blending with intimate family drama to explore themes of , , and humanity, intentionally subverting genre conventions for a meditative tone. Influenced by , particularly Yasujirō Ozu's depictions of transience and familial impermanence, Kogonada adapted the starting after the 2018 rights acquisition, completing it by early 2019 to emphasize emotional subtlety over spectacle.

Filming

Principal photography for After Yang commenced on May 1, 2019, and wrapped in June 2019 after approximately 25 to 30 days of shooting. The production took place primarily in the suburbs of , including Rockland County locations such as Chestnut Ridge for exterior and neighborhood scenes, to evoke a nondescript, woodsy future setting without overt urban markers. The family home was a modified Joseph Eichler-designed house on the outskirts of , selected for its expansive windows and integration of natural elements like greenery, which allowed for practical sets emphasizing subtle through everyday environments rather than elaborate constructions. A key dance sequence was filmed at 1896 Studios & Stages in . Cinematographer Benjamin Loeb captured the film on the ARRI Alexa Mini digital camera, employing Panavision Primo lenses detuned for a softer, more intimate quality in the 2.35:1 widescreen aspect ratio. This setup facilitated static, composed shots inspired by Yasujirō Ozu, prioritizing calm and emotional depth with an emphasis on natural light filtering through the home's architecture to blend indoor and outdoor spaces seamlessly. For Yang's fragmented memory sequences, Loeb switched to a vintage Canon 8-64mm zoom lens (taped at 25mm) in Super 16 mode for a handheld, textured 1.85:1 look, while video call scenes used a Pathé 53mm lens in 1.33:1 to mimic screen interfaces. Lighting relied on practical sources like T24 and T12 HMIs bounced off flyswatters to soften sunlight, with LED walls from PRG employed for car interiors to project subtle, pixelated reflections that enhanced the film's low-key sci-fi aesthetic without heavy visual effects. The android Yang's movements were achieved through performance capture techniques integrated into the actors' portrayals, focusing on realistic emotional realism over stylized robotics. Production faced challenges in sourcing a family home that avoided "Big Apple" stereotypes while supporting the story's intimate scale, ultimately requiring redesigns to the Eichler house for thematic sustainability cues like added indoor foliage. Daily lighting setups were complex, involving Tetris-like rigging to manage the home's all-around windows and control natural light variations. Although principal photography concluded before the COVID-19 pandemic, post-production occurred during the pandemic, contributing to the timeline leading to the 2021 premiere. The emphasis remained on practical, emotionally grounded visuals to maintain a subtle future-world tone, minimizing VFX reliance in favor of on-set authenticity.

Release

Premiere

After Yang had its world premiere at the on July 8, in the section, where it was presented as a meditative drama exploring dynamics in a near-future setting. The U.S. premiere took place at the on January 21, in the Spotlight section, where it received the Alfred P. Sloan Feature Film Prize for its outstanding depiction of . Following Sundance, the film continued its festival run in 2022, including appearances at additional events that highlighted its contemplative style and emotional depth. Receiving early acclaim at and Sundance for its subtle exploration of humanity and , After Yang generated buzz among critics for director Kogonada's precise, introspective filmmaking approach.

Distribution

_After Yang had a in the United States, distributed by , opening on March 4, , in 24 theaters across major markets. The rollout focused on select locations in 15 of the top 20 U.S. markets, emphasizing arthouse and cinemas. Internationally, the film was handled by MUBI in various territories, including theatrical and streaming availability in regions such as the United Kingdom and parts of Europe starting in mid-2022. Despite its limited release, the distribution strategy allowed for targeted audience reach in key international markets through MUBI's platform and partnerships. The film premiered simultaneously on Showtime for streaming in the U.S. on March 4, 2022, enabling immediate home viewing alongside theaters. It was available to stream on Amazon Prime Video in the United States and select international regions as of 2024. As of November 2025, it is available for free with ads on Tubi and Xumo Play, and for rent or purchase on platforms including Amazon Video, Apple TV, and Fandango at Home. For home media, After Yang was released on DVD and Blu-ray on June 21, 2022, by Home Entertainment in partnership with . Digital download and purchase options, including and , followed shortly after the theatrical window, providing on-demand access.

Reception

Box office

After Yang had an estimated production budget of $9 million, funded primarily by , , and Productions. The film received a in the United States on March 4, 2022, distributed by A24. It earned $46,872 during its opening weekend across 24 theaters. Over its entire domestic run, After Yang grossed $46,872. Internationally, the film performed better, accumulating $698,727 from markets including and . This brought the worldwide total to $745,599. Given its modest and arthouse positioning, the film's commercial performance was underwhelming, particularly in the , where limited screens and the lingering effects of the on theater attendance constrained its reach. For context, A24's comparable sci-fi drama Ex Machina (2014), also an indie-leaning release, grossed $36.9 million worldwide against a $15 million .

Critical response

After Yang received widespread critical acclaim upon its release, earning an 89% approval rating on based on 239 reviews, with an average score of 7.9/10. The site's Critics Consensus describes the film as one that "yields rich rewards for those willing to settle into its low-key wavelength," despite occasionally overreaching. On , it holds a score of 78 out of 100 from 44 critics, indicating "generally favorable" reviews. Critics praised director Kogonada's precise and meditative style, Colin Farrell's understated performance as the grieving father, and the film's sensitive exploration of and dynamics in a near-future setting. awarded it 4 out of 4 stars, calling it "a powerful, moving drama about what it means to be alive." gave it an A- grade, lauding its "cozy sci-fi stunner" quality and emotional depth in portraying human-android bonds. The film has been recognized in post-release rankings as a standout sci-fi entry of the 2020s, appearing on Collider's list of the 15 best sci-fi movies of the decade so far at number 14 and in Rolling Stone's 150 greatest science fiction movies of all time. Its score, primarily composed by Aska Matsumiya with a contribution from Ryuichi Sakamoto on the track "Memory Bank," has gained added significance as one of Sakamoto's final works for a feature film before his death in 2023. Some reviewers noted criticisms, particularly regarding the film's deliberate pacing, which could feel slow to viewers expecting more conventional sci-fi action, and the relatively underdeveloped technological elements in its world-building. Despite these modest returns, the critical consensus underscores its thoughtful resonance.

Accolades

After Yang received recognition at several film festivals and awards ceremonies, particularly for its elements and independent filmmaking achievements. At the , the film won the Feature Film Prize, awarded to the feature with the most outstanding depiction of or , which included a $20,000 cash prize from the . The film earned nominations at the 2022 Gotham Independent Film Awards, including for Outstanding Lead Performance () and Outstanding Screenplay (). It was also nominated for Best Screenplay at the 2023 . Additionally, After Yang garnered nominations in science fiction categories at the 2022 Online Film & Television Association Film Awards. In 2023, the film won four awards at the Chlotrudis Awards, honoring independent cinema: Best Movie, Best Director (), Best Adapted Screenplay (), and Best Production Design (Alexandra Schaller).

Themes

Humanity and technology

In After Yang, techno-sapiens like Yang are depicted as integral family members, functioning as both educational tools and emotional companions in a near-future society where androids are commonplace in households and serviced at specialized repair shops. Yang, marketed as a "super-toy," serves as an older sibling and cultural tutor to the family's adopted daughter , imparting " fun facts" to help her connect with her heritage, which blurs the distinction between utilitarian device and cherished child. This normalization reflects a world where such androids are not dystopian anomalies but everyday presences, fostering familial bonds that challenge traditional notions of kinship. The film probes philosophical questions about sentience through Yang's archived memories, which reveal moments of and interpersonal connections, such as his quiet with a named Ada, suggesting an emergent consciousness beyond programmed responses. Director intentionally avoids anthropocentric queries like "What does it mean to be ?" instead exploring "What does it mean to be artificially intelligent?" to highlight 's unique interiority. These revelations contrast with imperfections, exemplified by father Jake's initial toward Yang, underscoring how can expose and bridge gaps in . Ada's line, "That’s such a thing to ask, isn’t it? You always assume other beings would want to be ," encapsulates the film's inversion of typical sci-fi tropes, emphasizing mutual recognition over assimilation. Visually, After Yang employs subtle futuristic elements like holographic projections and neural implants to portray in harmonious coexistence with , eschewing dystopian sterility for a verdant, aesthetic that evokes post-environmental recovery. Kogonada's essayistic style, influenced by filmmakers like , uses fragmented "live photos" from Yang's memories—such as falling autumn leaves or Mika at play—to convey the emotional resonance of technological mediation, transforming mechanical records into poignant reflections on . This approach prioritizes the quiet beauty of tech-enhanced moments, illustrating how androids like Yang enrich human perceptions of the world without overshadowing natural rhythms.

Memory and loss

In After Yang, grief serves as the central emotional driver, propelling the through stages of and eventual as he confronts the breakdown of the family's companion, Yang. This process is deeply intertwined with Yang's archived memories, which Jake accesses to understand the , mirroring the experience of bereavement where fragmented recollections aid in processing absence. The 's portrayal draws parallels to real , emphasizing how amplifies the pain of impermanence while offering pathways to ; for instance, a pivotal scene involving the "grafting" of memories symbolizes the enduring nature of familial connections beyond physical form. Central to the theme of memory is Yang's internal recording mechanism, which captures subtle, overlooked moments—such as quiet interactions or everyday rituals—that reveal the android's profound engagement with . These archives function as a "memory bank," allowing the to revisit and preserve Yang's perspective, prompting reflections on whether such preservation equates to a form of or merely an echo of transience. This exploration questions the boundaries of in an era of technological augmentation, where memories become tangible artifacts that both console and confront the finality of loss. Yang's technological memories, in particular, uncover layers of emotional depth previously unnoticed, enriching the 's understanding of their shared history. The film further examines family dynamics through the lens of loss, highlighting how attachments to Yang illuminate broader themes of adoption, heritage, and resilience. Mika's deep bond with Yang underscores the adoptive nature of their relationship, evoking questions of belonging and cultural continuity as she grapples with his absence like that of a sibling. In contrast, Kyra's viewpoint emphasizes forward momentum, advocating for integration of the loss into daily life rather than stasis, which ties into universal motifs of impermanence and the necessity of evolving familial ties amid grief. These perspectives collectively portray loss not as an endpoint but as a catalyst for redefining family bonds in the face of technological and human fragility.

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