In “After Yang,” the characters live in a soft techno-fascism of petty pleasures and alluring surfaces—a kind of beauty that the filmmaker, Kogonada, boldly, slyly renders appealing.
), are raising their young daughter, Mika with the help of an android named Yang , whose function is specific. Mika has been adopted from China; neither Kyra nor Jake is Chinese. The couple purchases Yang, a “cultural techno” who is meant to appear Chinese and is filled with knowledge about China, to give Mika a grounding in the culture of her native country. But Yang has a technical failure, and he does the techno equivalent of dying—his humanoid skin will even begin to decompose.
Big Brother is watching them, and Russ, who has an American flag on his wall that’s stencilled with the slogan “Ain’t no yellow in the red white and blue” and a poster emblazoned with the phrase “Yellow peril,” is the one who lets them know. Russ could be a paranoiac, a nationalist, or a racist—or he could just be doing his part for privacy, freedom, and independence. Russ also provides an aesthetic contrast with the family’s way of life.
The surfaces, the design, the lighting, and the movements of the characters are, indeed, beautiful—Kogonada has an eye, a sensibility—but, in “After Yang,” he calls attention to his own inclinations, rendering his own sense of beauty self-consciously seductive and potentially suspect, and making the film’s viewers complicit in the oppressive power of such beauty.
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