A work in constant progress (and occasional regress).
Featuring:
Colin Farrell, Jodie Turner-Smith, Malea Emma Tjandrawidjaja
Written by:
Alexander Weinstein
Kogonada
Directed by:
Kogonada
Release Date:
March 4, 2022
Original Title:
After Yang
Alternate Titles:
Despidiendo a Yang
Saying Goodbye to Yang
อาฟเตอร์ หยาง
애프터 양
Genres:
Drama | Science Fiction
Production Companies:
A24
Cinereach
Per Capita Productions
Production Countries:
United States of America
Ratings / Certifications:
AU: PG CA: PG DE: 12 DK: 11|15 FR: U GB: PG KR: ALL LT: N-13 NL: 9 NZ: M PT: M/12 RO: 15 RU: 16+ TH: G US: PG
Runtime: 96
When his young daughter's beloved companion — an android named Yang — malfunctions, Jake searches for a way to repair him. In the process, Jake discovers the life that has been passing in front of him, reconnecting with his wife and daughter across a distance he didn't know was there.
When his young daughter's beloved companion - an android named Yang - malfunctions, Jake searches for a way to repair him. In the process, Jake discovers the life that has been passing in front of him, reconnecting with his wife (Jodie Turner-Smith) and daughter across a distance he didn't know was there.
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Although TheMovieDB might provide a key to a YouTube video, there is no guarantee that the video might be present at YouTube.
Internet Movie Database | 6.6/10 |
---|---|
Rotten Tomatoes | 89% |
Metacritic | 78/100 |
Awards Won: | 13 wins & 38 nominations total |
ADR Editor:
Marissa Littlefield
ADR Mixer:
Mark DeSimone
Nick Roberts
ADR Recordist:
Kristin Catuogno
Art Department Assistant:
Christina Bowman
Art Direction:
Max Wixom
Assistant Art Director:
Todd Ivins
Rosa Callejas
Associate Producer:
Alexander Weinstein
Best Boy Electric:
Matthew Atwood
Best Boy Grip:
Richard Auth
Boom Operator:
Richard Topham III
Carpenter:
Chris Paquette
Casting:
Rebecca Dealy
Jessica Kelly
Choreographer:
Celia Rowlson-Hall
Compositing Supervisor:
Kyle Zemborain
Contact Lens Painter:
Kevin Carter
Costume Design:
Arjun Bhasin
Costumer:
Carl Skeris
Dialogue Editor:
Branka Mrkic
Digital Compositor:
Eric M. Beaver
Director:
Kogonada
Director of Photography:
Benjamin Loeb
Dolly Grip:
Kenneth Kildee
Editor:
Kogonada
Electrician:
Emmett Kerr-Perkinson
Executive Producer:
Philipp Engelhorn
First Assistant Director:
David Ketterer Spencer
Foley Artist:
Guy Francoeur
Foley Mixer:
Jo Caron
Gaffer:
Andrew Hubbard
Graphic Designer:
Matthew Vidalis
Grip:
Omar King
Bridgid Swanick
Garrick Cisneros
Hair Department Head:
Jon Carter
Hairstylist:
Isata Allen
Key Carpenter:
Peter Bundrick
Key Costumer:
Felicity Gifford
Key Grip:
Ethan June
Key Hair Stylist:
Danielle Crawford
Key Makeup Artist:
Heidi Pakdel
Key Rigging Grip:
Justin LaValley
Leadman:
Joe Cagen
Will Comacho
Line Producer:
Becky Glupczynski
Main Title Theme Composer:
Ryuichi Sakamoto
Makeup Artist:
Ivy Ermert
Makeup Department Head:
Amy L. Forsythe
On Set Dresser:
Judith C. Posey
Original Music Composer:
Aska Matsumiya
Post Production Supervisor:
Jeremy Newmark
Producer:
Andrew Goldman
Theresa Park
Caroline Kaplan
Paul S. Mezey
Production Design:
Alexandra Schaller
Property Master:
Bridget Rafferty
Props:
Shane Torres
Rigging Gaffer:
Lori Dinsmore
Rigging Grip:
Chris Beattie
Scenic Artist:
Carl Eckhoff
Marlene Eckhardt
Second Assistant Camera:
Olivia Kimmel
Second Assistant Director:
Robin Takao D'Oench
Second Second Assistant Director:
Alex Backus
Set Decoration:
Joanne Ling
Set Dresser:
Jacobsen Erin
Meriam Rodriguez
George Couri
Henry Padilla
Short Story:
Alexander Weinstein
Songs:
Mitski
Sound Designer:
Ruy García
Sound Effects Editor:
Samuel Miille
Sound Mixer:
Jonathan Walter Reyes
Still Photographer:
Linda Källérus
Thanks:
Lars Knudsen
Title Designer:
Teddy Blanks
Unit Production Manager:
Taylor Shung
Visual Effects Coordinator:
Jared Levin
Visual Effects Supervisor:
Ilia Mokhtareizadeh
Wardrobe Supervisor:
Mariah Fidalgo
Writer:
Kogonada
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Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
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Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
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