---
title: "Swan Song"
year: 2021
kind: "film"
canonical: "https://film.one/film/swan-song"
fi1m_id: "swan-song"
imdb_id: "tt13207508"
tmdb_id: 765245
wikidata_id: "Q104860449"
fi1m_score: 71
critics_score: 65
critics_reviews: 16
published: "2026-10-03T02:24:46.002025+00:00"
updated: "2026-10-03T02:24:46.418577+00:00"
region: "VN"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Swan Song (2021)

Directed by Benjamin Cleary · 1h 52m · Drama, Science Fiction

## Identity

Swan Song

- **Canonical:** https://film.one/film/swan-song
- **Type:** Film
- **Fi1m ID:** swan-song
- **IMDb ID:** tt13207508
- **TMDB ID:** 765245
- **Wikidata ID:** Q104860449
- **Same entity:** https://www.imdb.com/title/tt13207508/, https://www.themoviedb.org/movie/765245, https://www.wikidata.org/wiki/Q104860449

**Fi1m score: 71** · Critics 65 from 16 reviews

*In a sentence:* Mahershala Ali makes meeting another Mahershala Ali look like a serious personal problem

> Mahershala Ali gives this restrained science-fiction drama enough feeling to make its questions about mortality matter. We recommend it for his performance, with a reservation: the relationship at its centre needs more room, especially for Naomie Harris.

## Synopsis

In a near future, Cameron Turner (Mahershala Ali) confronts another version of himself, bringing questions about mortality into his relationship with Poppy Turner (Naomie Harris). Faced with his double, Cameron has to consider what makes him the person Poppy loves, and what another version of that person could mean for their life together. Around them are Kate (Awkwafina) and Dr. Eve Scott (Glenn Close). The science-fiction premise keeps the attention on Cameron: his conflicting feelings about the man before him, his attachment to Poppy, and the difficulty of thinking about a future beyond himself.

## Review

*Swan Song* is worth an evening for Mahershala Ali, whose performance makes a familiar science-fiction question feel painfully personal. What would it mean to confront another version of ourselves, particularly when our own mortality is involved? Writer-director Benjamin Cleary approaches that question with care, though sometimes with too much caution to follow its more troubling implications. The result is a good, uneven drama whose leading actor keeps finding complications that the writing could explore more fully.

Ali plays Cameron Turner and his double without reducing either to a demonstration of how neatly an actor can distinguish two roles. His achievement is to make the conflicting emotions credible without settling them into a single, easily understood response. We were moved by Cameron confronting another version of himself, because Ali makes the encounter feel difficult before we have finished considering its possibilities. The thought experiment can wait while we attend to the man, which is precisely what this sort of science fiction needs.

Naomie Harris gives Poppy Turner warmth and emotional credibility, and the chemistry between her and Ali makes their relationship worth caring about. That matters: without a convincing attachment, Cameron’s predicament would be an exercise with unusually good casting. But Cleary gives Poppy too little independent weight, leaving Harris to supply much of what we need to understand about her. We wanted more room for her responses and wishes, particularly in a film so concerned with what one person means to another.

The near-future setting is one of the film’s quieter successes. Annie Beauchamp’s production design makes it feel sufficiently close to ordinary life that the speculative premise does not require a separate effort of belief. Masanobu Takayanagi’s cinematography finds a persuasive calm in the wooded landscapes, giving Cameron’s distress space without making every image announce it. That serenity is attractive, although it also contributes to a film that can seem reluctant to disturb its own careful composure.

We wanted more urgency from Nathan Nugent’s editing, particularly when the central dilemma has become clear and the drama still seems to be considering how to approach it. Patience suits Ali’s performance; elsewhere, it gives the thinly developed relationships nowhere to hide. Jay Wadley’s score is less persuasive to us as an emotional guide than the actors, who already make the sadness legible. The accumulated solemnity becomes restrictive, leaving too little variation in how the film asks us to respond.

Against the standards of speculative drama, Cleary deserves credit for taking an extraordinary proposition seriously without treating the people as dispensable illustrations. Yet the screenplay’s narrow attention to Cameron limits how thoroughly it can examine the ethical questions raised by his situation. Poppy’s underdevelopment is especially costly here, since a fuller sense of her might have made those questions harder and the drama less comfortable. The film is willing to explain its concerns, but less willing to let competing needs make a mess of them.

Ali makes that limitation bearable because his performance retains uncertainty even when the storytelling becomes too explicit. There is enough tenderness here to reward anyone drawn to science fiction about intimate relationships, rather than discovery or spectacle. Just do not expect Harris to receive the space her work deserves.

*Fi1m score 71, published 3 October 2026.*

## What the critics say

Most critics respond positively to Swan Song, with praise centred on Mahershala Ali’s restrained dual performance and the believable near-future setting. Even several detractors find emotional credibility in his portrayal of two versions of one man. The warmer reviews describe a thoughtful, moving drama about mortality, family and selfhood, with science fiction kept close to ordinary human concerns. Variety also praises the chemistry between Ali and Naomie Harris.

The spread is wide, however, and the main disagreement concerns how fully the film develops its premise. Admirers value its restraint; less persuaded critics find the relationships thin and the emotional payoff insufficient. IndieWire finds the film moving but regards Poppy as underwritten, a reservation echoed elsewhere in concerns about Harris’s limited role. The AV Club is more firmly dissatisfied, arguing that the ethical dilemma remains underexplored and that Ali’s performance cannot compensate for inert drama and overly explicit storytelling.

## Straight answers

**Is Swan Song worth watching?**

*Swan Song* is worth watching for Mahershala Ali’s moving performance, especially if we want science fiction about intimate relationships rather than spectacle; we score it 71 out of 100. Its questions about mortality carry emotional weight, though the drama lacks urgency and Naomie Harris’s character needs more room.

**How long is Swan Song, and what is it rated?**

*Swan Song* runs 1h 52m. It is a drama and science fiction film.

**Where can I watch Swan Song in Vietnam?**

*Swan Song* is streaming on Apple TV in Vietnam. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Swan Song, and is it suitable for children?**

*Swan Song* carries a UK 15 certificate, making it unsuitable for children under 15. We describe it as a restrained, emotionally serious drama about mortality, but cannot give specific assurances about violence or frightening content: the certificate alone does not establish what those elements involve or how intense they are.

**How does Swan Song compare to Never Let Me Go?**

*Swan Song* and [*Never Let Me Go*](https://film.one/film/never-let-me-go) both approach mortality and attachment through restrained science fiction, and we recommend both with reservations about their careful handling of emotion. *Swan Song* is the better fit for an actor-led personal dilemma, with Ali making Cameron’s conflicting feelings credible; *Never Let Me Go* suits those more interested in romance and the awkward affection between its leads.

**What should I watch after Swan Song?**

After *Swan Song*, try [*Never Let Me Go*](https://film.one/film/never-let-me-go) (2010, Fi1m 73): Another restrained drama about mortality, attachment and the human cost of scientific possibility. Then [*Moon*](https://film.one/film/moon) (2009, Fi1m 83): For another performance that makes questions of identity feel immediate and lonely; and [*Solaris*](https://film.one/film/solaris-1972) (1972, Fi1m 87): For a more demanding encounter with love, memory and another person’s apparent return.

### Reviews we read (16)

- **Los Angeles Times**, Michael Ordoña (85/100, inferred): The critic finds the drama compelling, led by Mahershala Ali’s richly grounded performance as two versions of one man. They especially praise how Ali conveys the character’s conflicting emotions with subtlety and depth. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-12-15/review-futuristic-drama-swan-song-showcases-mahershala-ali-twice)
- **Radio Times**, Kevin Harley (4/5): Harley calls it an intelligent, thoughtful sci-fi tear-jerker. He praises its practical near-future setting and its meditation on mortality and selfhood. [Read](https://www.radiotimes.com/movie-guide/b-4k61ji/swan-song/)
- **Variety**, Courtney Howard (80/100, inferred): Howard finds the film a tender, thought-provoking weepie that handles its moral and emotional questions with restraint. She particularly praises Mahershala Ali and Naomie Harris for the chemistry and depth they bring to the love story. [Read](https://variety.com/2021/film/reviews/swan-song-review-mahershala-ali-1235111214/)
- **IndieWire**, David Ehrlich (B): Ehrlich finds the film moving despite a concept that often constrains its human drama. He praises the instability and nuance of Mahershala Ali’s dual performance, while criticizing the thin characterization of Poppy. [Read](https://www.indiewire.com/criticism/movies/swan-song-review-mahershala-ali-1234679188/)
- **Empire**, Nikki Baughan (75/100, inferred): Baughan finds the film an engaging, thoughtful sci-fi drama with a strong central performance. She especially praises its grounded, richly textured production design, while noting that Naomie Harris is underused. [Read](https://www.empireonline.com/movies/reviews/swan-song/)
- **The Guardian**, Peter Bradshaw (75/100, inferred): Bradshaw finds the film elegant, melancholy and unsettling, with an impressively serious approach to its sci-fi mystery. He singles out Mahershala Ali’s convincing performance as a man confronting his double. [Read](https://www.theguardian.com/film/2021/dec/14/swan-song-review-mahershala-ali-is-twice-the-man-in-melancholy-sci-fi-mystery)
- **Screen Daily**, Tim Grierson (70/100, inferred): The review presents the film positively, describing Mahershala Ali as a heartbreaker. It singles out Ali’s performance as the film’s standout. [Read](https://www.screendaily.com/reviews/swan-song-afi-fest-review/5165113.article)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict is unavailable. No specific praise or complaint can be verified. [Read](https://www.rogerebert.com/streaming/tv-review-flesh-and-bone-sings-familiar-swan-song)
- **The New York Times** (64/100, inferred): The page could not be accessed, so the critic’s verdict is unavailable. No praise or complaint can be reliably identified from the provided text. [Read](https://www.nytimes.com/2021/12/16/movies/swan-song-review.html)
- **The AV Club**, Vikram Murthi (C-): Murthi finds the film inert and its ethical dilemma underexplored, despite a premise that could invite deeper questions. He praises Mahershala Ali’s restrained, emotionally credible dual performance, which cannot overcome the thinly developed relationships and overly explicit storytelling. [Read](https://www.avclub.com/swan-song-wastes-mahershala-ali-and-a-promising-eternal-1848210726)
- **Sight and Sound**, BFI (30/100, inferred): The review finds the film disappointing, saying it fails to make good use of Udo Kier. It praises his silent moments and the film’s depiction of queer otherness in small-town America. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/swan-song-disappointing-outing-udo-kier)
- **The Hollywood Reporter**, David Rooney (30/100, inferred): Rooney finds the film increasingly earnest and dull, with its emotional drama too one-note to move the audience. He praises Ali’s sensitive dual performance and the cinematography’s serene woodsy landscapes. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/swan-song-mahershala-ali-1235047220/)
- **Deadline**, Valerie Complex (83/100, inferred): The critic finds the film powerfully moving, with a grounded sci-fi story that invites viewers to consider mortality and family. They single out Mahershala Ali’s empathetic, electrifying performance, enhanced by Benjamin Cleary’s direction. [Read](https://deadline.com/2021/11/swan-song-mahershala-ali-electrifying-performance-1234873506/)
- **Collider**, Ross Bonaime (B): Bonaime finds the film worth watching, though it lacks the emotional weight and payoff its story promises. He especially praises Mahershala Ali’s dual performance and the carefully crafted near-future world. [Read](https://collider.com/swan-song-review-mahershala-ali-benjamin-cleary/)
- **The Playlist** (64/100, inferred): The page is blocked by anti-crawler protection, so the critic’s verdict cannot be determined. No praise or complaint from the review is available in the provided text. [Read](https://theplaylist.net/swan-song-review-sci-fi-drama-mahershala-ali-afi-fest-20211113/)
- **The Wrap** (35/100, inferred): The critic finds the film underdeveloped, with a narrow point of view and missed opportunities. Mahershala Ali and Naomie Harris bring emotional honesty, and the futuristic world is praised as believable. [Read](https://www.thewrap.com/swan-song-film-review-mahershala-ali-naomie-harris-glenn-close-awkwafina/)

## Details

- **Director:** Benjamin Cleary
- **Director:** Benjamin Cleary
- **Screenplay:** Benjamin Cleary
- **Cinematography:** Masanobu Takayanagi
- **Editor:** Nathan Nugent
- **Music:** Jay Wadley
- **Production design:** Annie Beauchamp
- **Costume design:** Cynthia Ann Summers
- **Producer:** Rebecca Bourke, Shea Kammer, Mimi Valdés
- **Cast:** Mahershala Ali as Cameron Turner; Naomie Harris as Poppy Turner; Awkwafina as Kate; Glenn Close as Dr. Eve Scott; Adam Beach as Dalton; Lee Shorten as Rafa; Dax Rey as Hugo; Nyasha Hatendi as Andre
- **Runtime:** 1h 52m
- **Release (Vietnam):** 17 December 2021
- **Genres:** Drama, Science Fiction
- **Trailer:** https://www.youtube.com/watch?v=LxftqrrlSqc

## Where to watch in Vietnam

- Apple TV: streaming, uhd

*Checked 2026-10-03.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Never Let Me Go* (2010), Fi1m 73: Another restrained drama about mortality, attachment and the human cost of scientific possibility. — [Fi1m page](https://film.one/film/never-let-me-go.md)
- *Moon* (2009), Fi1m 83: For another performance that makes questions of identity feel immediate and lonely. — [Fi1m page](https://film.one/film/moon.md)
- *After Life* (1998): A patient Japanese film that gives memory and mortality concrete, everyday tasks.
- *Solaris* (1972), Fi1m 87: For a more demanding encounter with love, memory and another person’s apparent return. — [Fi1m page](https://film.one/film/solaris-1972.md)
- *Marjorie Prime* (2017): Quiet speculative drama asking how much of a person survives in recollection.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/swan-song