Columbus, the debut feature from writer/director Kogonada, was so quietly self-assured that I figured I knew what to expect from his sophomore effort After Yang. Carefully composed framing, slow-but-steady pacing, and a general construction so precise that it borders on the architectural (and not just because Columbus was partly about architecture) — these are the hallmarks I readied myself for in After Yang, which premiered last week at the Sundance Film Festival.
…so an opening that included the year’s flashiest techno dance sequence could very much be called a surprise. Based on Alexander Weinstein’s 2016 short story Saying Goodbye to Yang, Kogonada’s second feature is definitely the work of a director trying to reach farther, trying to push out beyond the bounds of his finely-calibrated debut. It’s an admirable and exciting endeavor, and After Yang would be disappointing if it adopted the personality of Columbus. In certain respects — see: techno dance sequence — this endeavor is a success. But After Yang is a bit disappointing in other ways, even if only in falling short of the high bar Kogonada set for himself.
I never much expected Yorgos Lanthimos to become a great filmmaker. He was always a very good filmmaker, and it must be noted that we’re reserving the term great here for someone truly deserving of the moniker, as in one of the all-time greats. Nowadays great gets bandied about a lot. Is Ridley Scott great? From time to time, sure. Maybe we weigh the greatness of 
Motion State Review 