Dìdi

I was the same age as Chris in the time this movie was set in. I found it very relatable. A good kid but sorely misunderstood. Just trying to find a place in the world, fit in, be liked. This film isn't for everyone. Not everyone was 13 growing up at the boom of social media. Moral of the story is growing up can be REALLY hard and nobody loves you more than your mom. Check this movie out if you're in the mood for a good coming of age film. It really did feel like it was set in 2008 which made my viewing experience a lot better. Really appreciated the attention to detail, computers, cars, music, vibe was there.

Rating: 8.7 Overall, a very good coming-of-age drama that accurately portrays the struggles of an Asian American adolescent trying to find himself, carried out by authentic, yet humorous writing and a powerful performance from Joan Chen.

Very Good Direction (The direction on a macroscale is very good as they set the area and time-period very well (2000s, Bay Area); the direction on a microscale is great as you see how the characters' emotions and relationships change in the interpersonal scenes, and this might be one of the most accurate portrayals of Asian American adolescence I have seen; the direction of actors is very good as it feels like everyone's performance is elevated; the storytelling is very good as it tells a coming-of-age story through both the Asian-American lens and the lens from someone who grew up in the 2000s), Good to Very Good Acting (Good to Very Good from Izaac Wang (Shows a wide range of emotions as you can see how he changes his personality to fit in, all while being incredibly anxious/feeling lost), Very Good to Great from Joan Chen (Delivers a very powerful performance as the matriarch in the family as she tries her best to hold the family together while also trying to pursue her own passions; her final monologue is truly Oscar worthy as it comes second to Ellen Burstyn's Red Dress monologue in how emotional and well executed it is), Good from the rest of the cast (Really emulates the time-period and adolescence)), Good to Very Good Story (The concept is simple and self-explanatory as it is an Asian-American, coming-of-age story set in 2000s Fremont; the plot structure is pretty simple (short and to the point); flow between sequences is very good; the character writing is great as you really get a grasp of what each character in the family is going through (especially the protagonist and the mother)), Great Screenplay (The dialogue is great as it mimics the time-period/location/age of the characters; the Cantonese dialogue is used very well as it helps show the identity of the family and show this dichotomy of being an Asian American in that time-period; the emotional dialogue is very powerful as it invokes a lot of strong emotions in both the cast and the audience; the humor is very true to the time and well written; the symbolism is very powerful as it realistically shows Asian-American Identity and adolescence; the foreshadowing is pretty standard for a coming-of-age story), Pretty Good to Good Score (Helps with establishing the tone, especially in the more depressing scenes), Good Cinematography (Enjoyed the how they interweaved 2000s camcorder shots in with the standard shots, and I felt the more large scale shots did a good job at showing the emotions of the characters (especially the protagonist)), Very Good Editing (Feels very polished and interjects the message/social-media scenes very well), , Pretty Bad Visual Effects (Feels pretty tacky and out of place), Good Production Design (Did a good job in emulating 2000s Fremont, CA), Pacing is pretty fast as it tries to go through a decent amount in its short runtime (but there really could not have been any more runtime that could've been added), Climax is executed very well as it is the epiphany/lowest for the protagonist and displays an incredible monologue from the mother (showing her identity in relation to her family and personal ambitions), Tone feels like a coming-of-age movie set in 2000s Bay Area (and executes this very well), Saw the Texas Premiere at SXSW.

Greetings again from the darkness. 'Coming of Age' films typically lean heavily into either comedy or tragedy. In his first feature film, writer-director Sean Wang (Oscar nominated for his documentary short NAI NAI & WAI PO, 2023) takes a different approach. While he certainly injects some humor, it's isolation and awkwardness - that feeling of not fitting in - that takes center stage. It's quite possible, even likely, that some of this is autobiographical for director Wang. That's a safe statement since most every teenager can relate to bits of this story.

Chris Wang (played by Izaac Wang) is introduced to us as he's blowing up a neighbor's mailbox. We don't get the full story until later, but it doesn't take long for us to figure out that this kid is trying (too) hard to fit in with his group of buddies, as they each transition from junior high to high school. It's the summer of 2008, and Chris lives with his mother, grandmother, and sister ... and he's miserable and lost.

Mom (a terrific Joan Chen, LUST CAUTION, 2007) is a talented artist, beaten down by the demands of being a single mom to two constantly bickering kids, and a demanding mother-in-law for whom nothing is ever good enough. Nai Nai (Chang Li Hua) is played by director Wang's real-life grandmother, and though her health is slowly fading, she doesn't understand the social or family dynamics of the era. Vivian (Shirley Chen) is the sister/daughter who will be leaving home for college in one month. She is constantly annoyed by her little brother's extreme pranks and immaturity, as well as the unfair judgments of Nai Nai. Their father is working in Taiwan, creating even more stress for these folks in Fresno.

Identity plays a huge role for Chris. His friends have always called him Wang-Wang, and at home he's referred to as Didi (little brother). A group of older skaters offers him his first chance to be "Chris" and 'half-Asian', and he takes it. He wants so much to be part of the big boy club, yet he fails hard when his crush Madi (Mahaela Park) initiates 'the nervous game.' He also flops at being the filmer for the skate kids, and his sister counsels with the age-old warning, "Don't do anything stupid." Of course, we know he will.

Being the summer of 2008, we see camcorders, MySpace, AOL Instant Messenger, A WALK TO REMEMBER, and flip phones, amongst other reminders of the era. It's interesting to see the first group of teens embrace the early days of social media, especially with the amateurish videos that slammed YouTube in those days. In this regard, director Wang has delivered a period piece, even if it's from less than 20 years ago. Google search also plays a starring role.

Most impressive is how the film, and the actors, capture the emotions we all recognize. Anger, confusion, and frustration are prevalent for Chris and his mother, the latter of whom gets a wonderful scene where she relays her perspective on life. It's heart-wrenching and Joan Chen nails it. As Chris, Izaac Wang details the absurd squirrel story which highlights his advanced level of social awkwardness. Included are references to Ang Lee and Spike Jonze, and the emphasis on Chris not being a stereotypical Asian-American. When summer ends, the braces come off, and Chris strolls into high school ... we easily understand why this won an Audience Award at Sundance. The digital version even includes some bonus features ('the making of DIDI').

Now available on digital and coming to Blu-ray on October 29, 2024.

I am not Asian. I did not grow up in the 2000s. And yet, I absolutely related to this film and its protagonist. Because we've all navigated that awkward in between stage. Friendships change and feelings get hurt and moments feel way bigger than they actually are. Sean Wang managed to tell a story that evokes a particular moment and is timeless all at once. It helps that his actors (especially Izaac Wang and Joan Chen) feel familiar and real. Throughout this story I could feel the cringes and the hugs...and I could hear the inner monologues too. I have no desire to go back to being a freshman in high school, but if I did? It would look and feel a lot like this.

You can always tell when scenes about the Asian American experience are included specifically so the non-Asian American audience notices. Like when there's a lingering shot on guests' shoes as they walk through the house, or when there's a pause after a particularly harsh reprimand from an elder. For the Asian American audience, these moments aren't out of the ordinary-and sometimes we look puzzled when we hear other moviegoers laugh or cringe or exclaim a knowing "Oh no, the shoes." But for the non-Asian American audience, these moments are foreign, highlighting the differences between the people on screen and themselves. Even if the family lives in the suburbs and the children are second generation American who speak perfect English.

In that way, the experiences of Didi's protagonist, Chris ("Wang Wang" to his friends and "Didi" to his mother)-the microaggressions directed at him, his shortcomings when reacting to his mother and friends, and even the way he codeswitches his name-are presented to the non-Asian American audience as a way of highlighting the different struggles and paths toward growth in an Asian American's coming-of-age story.

Even though adolescent angst has so many universal elements across all American experiences of it, audiences can relate to the awkwardness and shame and uncertainty portrayed in movies like Boyhood and Eighth Grade-and particularly the desire to fit in at school, with friends, or among family-differently than in Didi. Because there's a uniqueness in the tension of Didi's titular character. It's not just about fitting in to a world that is unrecognizable, one without the freedom and infinite possibilities of childhood imaginings but instead burdened by the rigid structures of socially imposed order, an inherent hierarchy perpetuated by class and culture in inculcated in our youth by media consumption and unspoken mores. There's also a cultural tension in Didi, a desire not to be like your sister or the other Asian American kids, to shirk the stereotypes and be less Asian (and more white). Chris must navigate fitting into an external world that is both his and not his, that is extremely familiar and yet so separate from his world at home-as evidenced by the different names he uses with his mother versus his old friends versus his new friends

By setting the movie in the early 2000s, Didi asks the audience to remember our own fledgling teenage years. And in that reflection, the Asian American audience sees ourselves (thematically, if not specifically) on screen. And the non-Asian American audience is meant to notice the differences, but still relate to the awkwardness and the desire to make friends and lose your virginity and steal from your siblings and yell at your mom. By noticing these differences in a quintessentially American coming-of-age story, the foreign moments become familiar and their own uniquely experienced adolescence becomes a little more universal.