‘Dìdi’ Review – Refreshing Coming-Of-Age Tale Provides Clear-Eyed Reflection [Sundance 2024]

Our teenage years are the time when we are given the grace to live out the worst versions of ourselves and, within reason, be forgiven for succumbing to the pressures and emotions of the time. This act of palliation not only extends to what is given by others but also to how we consider ourselves. In the newest entry in the coming-of-age hall of fame, Dìdi, writer-director Sean Wang uses his semi-autobiographical feature debut to reflect upon this tumultuous time in his life. The general experiences will not be unfamiliar to those who grew up when the internet and social media truly took hold of our society. Nevertheless, the specificity of his experience as a first-generation Asian American child of immigrants gives a vital voice within the genre that allows it to resonate as something truly special. 

Dìdi begins with a literal bang; the act of blowing something up while gleefully running away with reckless abandon feels like a rite of passage. It is the summer of 2008 before high school begins and 13-year-old Taiwanese American Chris Wang, aka Wang Wang, is living your typical teenage experience in Fremont, California. He loves skateboarding and doing dumb stuff with his friends. He is a child of the early days of YouTube, which means he is both consuming and producing some of the most inane content imaginable. He has a crush on a girl a grade above him. Most importantly, he is trying to figure out who he is, which at this age means trying to be someone else. With so much information at your fingertips, it would be insane not to mold yourself into who you think others want you to be, right? 

Sean Wang deftly balances capturing both the universal realities of this age and time period with the unique experiences of this character. Izaac Wang delivers a breakthrough performance as Chris, capturing the complexity and confusion of the character with complete honesty. One of the moments that best embodies the lack of self-awareness of this age comes from Chris relaying a grotesque story that he thinks is a funny anecdote to some horrified girls. The delivery is like a slow-motion car crash that you cannot stop, and the fallout is a gut punch that showcases the loneliness of stumbling through the world. A more pernicious moment sneakily occurs in a happier context as Chris internalizes being told he is cute “for an Asian” with no choice but to accept it as a compliment. The film does not apply a heavy hand to these microaggressions, but they are sprinkled throughout to make their impact.

As great as the storylines with his peers are, the family is where this film truly shines. Chris lives with three generations of women in his household whom he loves, but he is at a time in his life when he does not always know how to show it. His sister, Vivian, will soon be heading to college, and with each of them dealing with the pressures of imminently embarking on a new chapter of their lives, interactions often devolve into some of the most cutting sibling bickering we have seen since fellow Sundance alum Donnie Darko. His mom, Chungsing, is doing her best to maintain a warm facade as she is put in the position of a single mother while her husband is out of the country for work and his mother, Nai Nai (Sean Wang’s real-life grandmother), criticizes her parenting skills. Each of these women has a story worthy of their own movie. 

Joan Chen is the secret weapon that makes this feature such an effective watch. Her incredible performance as Chungsing makes for a terrific companion to Rachel McAdams in Are You There God? It’s Me, Margaret. as a new breed of coming-of-age film that does not dilute the lives of the parents. Sean Wang provides his fictionalized mother with a three-dimensional representation that might just aid in lessening the sting of any teenage barbs that were thrown and left a mark. Chungsing is conventional in how she is left to take care of the house and kids, yet it is clear in every scene with her that she wants more. She has an entire subplot about her dreams of being an artist and her enduring determination in the face of precious little support. She loves her children but her veneer begins to crack at points when she is put through the wringer. She is loving, hopeful, and incredibly funny – an unexpected gag in a car provides the film’s biggest laugh. While the focus may be on Chris, his story only gets richer as those surrounding him showcase their layers. 

Dìdi is a refreshing portrait of the beauty and pain that comes with growing up. Sean Wang impresses with his assured direction and storytelling that looks back with clear eyes without the need to force rehabilitation on his actions. As a character, Chris stumbles socially more than once, lashes out at those he loves the most, and even rejects his identity. This is fine; this is the gift of youth. Through his worst actions, we understand who he is and who he can be. We may even see a little of ourselves in him. By telling this story with such honesty, compassion, and humor, we can all begin to give a little more grace to our past selves. Dìdi is not to be missed. 

Dìdi had its World Premiere in the U.S. Dramatic Competition section of the 2024 Sundance Film Festival.

Director: Sean Wang

Writer: Sean Wang

Rated: NR

Runtime: 91m