Kogonada’s second feature extracts an emotional core from artificial intelligence when a family’s robot child ‘dies’, but the film dodges the reckoning with big questions that its premise promises.

Let's just flatly say: Kogonada is a genius.

... A mature, melancholic meditation on the odd transitional phase that humanity faces today — not quite fully digital, not nearly human enough.

There’s a sentimentality that runs throughout After Yang, a deliberate abjuring of the messiness of desire and sexuality. Kogonada wants to universalise the experiences of the his characters but in doing so infantilises them.