After Yang (2021) is a melancholy film, and not only because of the beautiful piano and strings score and dim lighting. The movie forces us to think about Yang and what we make of his life. This concept ties into our discussion about A.I. rights. Rather than worrying about humans losing jobs, the film dives into Yang, his memories and his relationships, especially with Mika and Ada.
The film’s style compliments different themes surrounding A.I. life, cultural identity, and memory. Throughout the film, many shots are seen through glass and reflections, depicting all characters in this way, not only Yang. It makes us reflect, one, on why people remember and, two, on how Yang is any different. It’s interesting that much of his chosen memory takes place outside and in nature. These memories breathe life into Yang. He takes time for things like focusing on nature and desiring to enjoy tea, things I would not typically associate with robots.
Also the use of full shots struck me. It keeps a certain distance between the viewers and Jake’s family, as if we are seeing them in a museum, analyzing their life. Ironically, that is how the museum people wanted Yang’s life to be remembered: in an exhibit on the wall. His family does not want that for Yang, only remembering his life as a technological study or breakthrough.
Multiple times during the film, people and corporations tried to monetize Yang. Whether selling his body for parts, getting a trouble-shooting diagnostic, or selling his memory box to the museum, society equated Yang with material consumption. Mika and Ada clearly think otherwise. They values him for their relationships (and did not give him the pressure of equating him to a human). This film is a gentle reminder that AGI may not be “human,” but what does that mean for their lives? Should we monetize their parts, since something like a Yang had to be bought in the first place?
Leave a Reply