Zi — Sundance Review
Source: Sundance
Zi feels like a return to form for Kogonada after last year’s A Big Bold Beautiful Journey, but it doesn’t quite have the charm of his debut Columbus (2017) or even the similarly sci-fi After Yang (2021). It feels more like an experiment than a film. Seven people flew to Hong Kong for a few weeks to shoot this project on a whim, and it very much feels like a film that was made on the fly. What’s admirable about this experiment is that Kogonada gave all seven of them equal equity in the film, so they’ll be splitting the profits equally. It will almost certainly be a polarizing film; I only wish it felt more like a story driven by passion and thoughtfulness than spontaneity and impulsivity.
Source: Sundance
The film stars Michelle Mao, who plays the titular Zi, a young woman adrift in Hong Kong. Zi believes she is haunted by visions of her future self. She even sees herself with a woman in a striped shirt and a blonde wig. Later, as she’s crying on a set of steps, that same woman in the striped shirt and blonde wig, Elle (Haley Lu Richardson), asks what’s wrong and introduces herself. The duo end up spending the remainder of the day together. Zi fears she might have a brain tumor, and between that possibility and the fact that the film takes place over the course of a single day makes it feel like an homage to Agnès Varda’s Cléo from 5 to 7 (1952). In fact, the impromptu approach Kogonada took to making this film feels like an ode to the French New Wave in general.
The 4:3 aspect ratio, handheld camerawork, and frequent close-ups make the cinematography feel voyeuristic, almost claustrophobic, which is fitting because it feels as though perhaps time is running out for Zi, and the imagery mirrors that feeling. The elliptical editing makes it seem as though we’re watching repetitive flashbacks, capturing the feeling of memories. The visuals are poetic, incorporating small visual flourishes, from lens flares to slow motion, giving the film an ethereal atmosphere. The sound design is hypnotic, emphasizing the way the city of Hong Kong collides with nature, from escalators clattering to leaves rustling in the wind. The use of Ryuichi Sakamoto’s music adds to the film's soothing, meditative nature.
Source: Sundance
Zi explores the notion of feeling lost in life. Elle moved to New York to become a dancer, but was met with rejection. As she remarks, “You feel your sole purpose in life is something and it doesn’t choose you back.” Meanwhile, Zi isn’t sure if what she’s seeing is the past, present, or future. She ponders, “I don’t know what’s real.” She feels untethered, unsure of her purpose in this life. Unfortunately, the film feels too stripped down and fragmented to truly deliver an impactful message.
Zi is an intriguing filmmaking experiment and a step in the right direction for Kogonada after the misfire that was A Big Bold Beautiful Journey. However, the film’s paper-thin premise is where it falters. Zi feels more like a tone poem than a film, which means it will most likely polarize viewers: some will vibe with its visually stunning, minimalist approach, while others will walk away unsatisfied by its lack of a story. It’s a beautiful, lyrical, and creative endeavor, but it feels hollow and leaves its actors floundering with little to work with.
Zi premiered at the Sundance Film Festival on January 24, 2026.
