Dìdi Exposes the Nightmare of Growing Up

Meet Chris Wang (Izaac Wang). Living in Fremont, California with his sister Vivian (Shirley Chen), mother Chungsing (Joan Chen), and grandmother Nai Nai (Chang Li Hua), he’s experiencing all the ups and downs of being a 13-year-old. He faces social anxiety, struggles with crushes, and has a rocky relationship with his family. The film Didi, written and directed by Sean Wang, captures Chris’s life in August 2008—a time when M.I.A.’s “Paper Planes” topped the Billboard Hot 100. It’s also a period of significant change for Chris, as high school looms ahead and his sister prepares to leave for college. Amidst this tumult, Chris starts forming friendships with older skateboarders, leading to a messy but critical introduction to life’s complexities.

One of Dìdi’s unique strengths is its use of actors who are genuinely 13 to 15 years old. This casting choice adds an extra layer of humor and poignancy, particularly in scenes where Chris and his friend Fahad (Raul Dial) exchange profane dialogue. These teenagers attempt to mimic adult speech, but their voices, still high-pitched and cracking, betray their youth. By using real teenagers, the film underscores the awkward charm of adolescents pretending to be older.

Sean Wang’s portrayal of being a 13-year-old in 2008 is thoughtfully executed. Unlike John Krasinski’s IF, which romanticizes childhood, Dìdi avoids nostalgic reverence. Wang’s writing channels the brutal realism of growing up, reminiscent of Charles M. Schulz’s Peanuts and modern teenage films like Eighth Grade. It doesn’t idealize the past but instead portrays adolescence as a daunting and indescribable experience.

Chris’s life in 2008 is marked by navigating early-2000s masculinity norms. The film doesn’t indulge in easy nostalgia but rather shows the challenges of that era. Chris and his friends often engage in “that’s so gay” jokes, reflecting the casual homophobia of the time. These interactions reveal the toxic attitudes Chris is pressured to conform to, where vulnerability and emotions are derided as “gay.” As a result, Chris suppresses his feelings, leading to adverse outcomes.

In Dìdi, 2008 isn’t depicted as a simpler time but as another messy chapter in Chris’s life. Wang effectively captures the tech-centric world of the time, akin to the short film Lasagna Cat. Scenes showing Chris’s computer screen dominate to highlight the importance of virtual exchanges and platforms like YouTube in his life. These moments offer a window into Chris’s preoccupations, underscoring how these digital spaces are integral to his experiences.

Wang’s screenplay brilliantly explores Chris’s 2008 reality, but it’s his depiction of Chungsing that stands out. Wang and cinematographer Sam A. Davis capture Chungsing’s struggles with immense empathy. Close-up shots on Chungsing’s face during moments of chastisement from Nai Nai reveal her vulnerability beneath her calm exterior. Joan Chen’s performance is a standout, delivering a nuanced portrayal that’s one of the year’s finest.

Dìdi’s screenplay also offers a refreshing take on Chungsing, portraying her as more than a stereotypical nagging mother. Humorous scenes, such as her using umbrellas in inexplicable ways or experiencing accidental flatulence, add depth to her character. This nuanced approach extends to all the characters, highlighting complex relationships, like Chris’s fondness for his grandmother or his evolving bond with Vivian.

The layered writing does more than create compelling characters; it captures the intricate social dynamics of teenage life. Friendships can shift in an instant, reflecting the instability of adolescence. Dìdi effectively mirrors real-life complexity, making it emotionally engaging. Sean Wang’s directorial debut showcases impressive talent, though not without rough edges, like a simplistic drug trip sequence.

Nevertheless, Wang’s creative boldness shines through in Dìdi. Especially notable is his portrayal of Chris’s discomfort with his Taiwanese American identity, underscored by offhand comments like “you’re pretty cute…for an Asian.” These moments explain why Chris retreats into his hoodie, emphasizing the torture of adolescence. For those feeling nostalgic about their teenage years, Dìdi serves as a reminder of its challenges, demonstrating how such periods can inspire remarkable filmmaking.

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