User reviews

Didi nails the essence of the teenage experience, capturing that awkward, in-between phase where we desperately want to fit in but have no idea who we really are. The film beautifully portrays how, during this time, we constantly guess what others expect from us, often making decisions out of fear rather than true choice.

Identity and Fitting In

One of the most memorable moments is when Chris tries to fit in with a group of older kids by asking for a cigarette, even though it's clear he's never smoked before. This scene speaks volumes about teenage insecurity. Chris assumes smoking is what's expected, so he jumps at the chance, only to be surprised when one of the older boys casually declines, saying he doesn't smoke. It's a subtle but powerful example of how, at that age, we're so afraid of being judged that we forget we actually have the freedom to choose.

The Parent-Teen Dynamic

The film also does an excellent job of exploring the relationship between Chris and his mother. At that age, we often push our parents away, trying to create distance to avoid embarrassment. Chris does this constantly, making excuses and trying to seem "cool" in front of his peers. What's funny and relatable is that the older kids don't care at all. In fact, they're more interested in having a genuine conversation with his mom. This contrast highlights how, as we grow older, we realize that the things we were once ashamed of like our parents' presence don't matter as much. The film cleverly uses these interactions to remind us how much we create unnecessary barriers in our youth.

Hiding Your True Self

Another standout moment is when Chris takes down his posters, an act that symbolizes the struggle of hiding your true self. At this age, we often hide our interests and passions because we're afraid they won't be "cool" or accepted. Dìdi touches on this theme in a meaningful way, showing how our fear of standing out can lead us to conceal the very things that make us unique. The film's message is clear: the things we're passionate about are what define us, and embracing them is what helps us grow into our true selves.

The Comparison Trap

Lastly, the film captures the emotional weight of comparison during adolescence. Chris is overwhelmed by feelings of inadequacy he has fewer friends, he doesn't have a girlfriend, and his family isn't like others. These are common struggles that many of us faced growing up. The film conveys how, at that age, everything feels like too much to handle, but as time passes, we begin to find ourselves and accept who we are. The director uses Chris's journey to show that while these feelings are intense, they are also temporary.

Final Thoughts

We've all been there overthinking every little decision, scared to make the wrong move, and hiding parts of ourselves to fit in. Dìdi captures that experience with humor, heart, and a refreshing dose of reality. It's a beautiful reminder that the awkwardness of growing up is what ultimately helps us discover who we truly are.

I saw last year's nominated documentary short "Nai Nai and Wai Po" without realizing that "Didi" was the fictionalized autobiography of that film's creator, Sean Wang. It didn't hit home to me until I saw the character of the grandma in "Didi," who was featured in the short film and is Sean Wang's actual grandmother. So that's all very cool.

"Didi" is very funny, and hits a lot of the targets about navigating adolescence and all its terrors that most of us who've lived through it would expect it to. I saw it with my 15 and 13 year old sons, and was a bit disappointed that it didn't seem to resonate more with them than it did. But I liked it.

It's mostly about a kid who thinks he always has to be something that others want him to be before he's had a chance to figure out what he wants to be himself. It also touches on what it's like to be "othered" by your racial identity (in this case Asian) without being preachy about it or making its audience feel like it's getting homework.

Not a groundbreaking film, but a nice alternative if you're looking for something beyond the typical summer movie fare.

Grade: A-

Watched this at the 2024 Sundance Film Festival.

Sean Wang perfectly captures the drama, cringe comedy of teenage life, and the Asian American culture with tender sweet performances, good camerawork, and fun characters to explore. Wang's direction on the humor aspects, character personalities and writing felt genuine to the setting and many of the themes on culture, friendship, growing up, and reality is well-handled with the maturity of the direction and writing.

There are uses of 2000's internet culture and media that felt strong and interesting and it is clear that Wang understands how internet culture works and how children are able to act. Because many of the child performances are good and Issac Wang is the star stealer of the entire movie, alongside with Joan Chen.

As someone who is Asian American, many of the themes, culture approaches and the characters were emotionally interesting and it felt purposeful and touching. I personally connected with the characters and what Wang was trying to tell. The humor is good as well.

Some small gripes are that I felt some of the lightening could be better in certain nighttime settings and some of the dialogue could be improved. Overall, this could have turned into a cheesy and annoying movie but with Wang's direction and writing, it becomes a thought-provoking yet tender sweet coming of age movie.

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.

It is not every day that we come across a movie that captures adolescence in such an authentic and realistic fashion. Dìdi illustrates that difficult stage in life where inexperience is contested with anxiety and the whole wide world feels to be against us, where every perceived struggle balloons to gigantic proportions that only time will later take care of.

Written and directed by Sean Wang, Dìdi is a coming-of-age set in 2008 that follows Chris (Izaac Wang), a 13-year-old Taiwanese American boy, as he navigates life during the last month of summer before high school begins. At first sight, it bears a close resemblance to Mid90s by Jonah Hill in being a coming-of-age as well as an exploration of an era. From the usual social media of those years as Myspace, AOL Instant Messenger, and YouTube, digital cameras now unused, to albums such as Riot! By Paramore, the year 2008 is seen and felt everywhere right from the beginning. This is something continuously reinforced given the time spent on screens with Chris navigating the internet or chatting with his peers. In this sense, the movie is not only allowing for information to be delivered in an authentic way as teens usually do, but also it is inviting us to relive those experiences again, whether that is indulging in nostalgia from our individual memories or from looking at those websites and remembering they once looked that way.

Dìdi is Chinese for 'Younger Brother' and this is relevant in the story because, as the younger sibling, Chris is influenced by his older sister and his desire to appear older, and therefore, by his logic, someone whose presence will be deemed valuable by others. By craving belongingness, Chris is willing to change different aspects about his projected image, something possible by the control exercised upon it through social media, a phenomenon the era before the internet never provided. By reason of this, it is easy to find relatability in the film, even more so if you are a young adult who lived 2008 as an adolescent. This also makes us sympathetic about Chris, because we know how it felt to live those experiences. How anxiety took control of us in given situations, how many times we said something without malice but ended up being misinterpreted, making us look bad, how we behaved before our romantic interests, and so on.

It is common to see teens written in a one-dimensional way, as silly, without much profundity, and without any care for any realistic quality or what they are experiencing other than being laughing stocks, but Chris is a well-written character, and Izaac Wang manages to portray every nuanced expression. His is the kind of performance that does not need dramatic unrealistic dialogue to evoke sympathy and emotions because he can say a lot without a single word, just looking at his face and body language.

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.

The debut feature from writer/director Sean Yang. Following the ups & downs (mostly downs from his standpoint) of an imminent high schooler played by Izaac Wang, as he tries to find a place for himself in the world even though his heavily female household (mom played by Joan Chen, gran & older sister) doesn't help things along. Having a set group of friends (themselves outcasts), Wang can only go so far so when he meets a girl he fancies, Mahaela Park, he falls back on his adolescent antics (since he doesn't have any history w/the opposite sex) which leads him into a romantic cul-de-sac. However there's a light at the end of his tunnel when he meets some skateboarders who take him in (after he boasts he knows how to shoot skate vids) where Wang can finally come into his own. Essentially an Asian inflected tale similar to Jonah Hill's lone directing gig, 2018's Mid90's, a similar tale of a latch key kid raised by a single mother who finds solace w/the skateboard set, Yang's film gets the early days of internet fame (when certain vids would go viral) correct but Wang doesn't come off as the nicest of tykes (at one point he pees into his sister's body lotion container after she catches him using it w/o her permission) so when he rants & raves about his life (a life which offers a home & food on the table on the reg), you kind of want to give him a good ear pull but hopefully this warts & all approach will push Yang in a more unexpected direction in his next effort.

This was a pleasant surprise. "Dídi" is a wonderful little indie film that more than delivers on the potential of its coming of age premise, and breaks new ground for the genre by finding unique ways to develop its characters.

The film offers an honest and touching look inside the life of a young Taiwanese-American teen as he navigates the awkward turbulences and heartbreaks of adolescence. As the film progresses, Chris, the young central character, ventures to discover himself and find his place in the world. We watch as he grows up and is forced to learn many of life's universal lessons, all while charting his own unique course through youth.

It's a familiar premise, but Sean Wang does something new and special with it, straying from the formula and imbuing the whole thing with subtle touches of realism, many of which I've never seen captured quite the same way in film before (HBO's Euphoria has a few moments which are comparable, but they're far more sensationalized than anything here). I really appreciated these novelties, as well as the film's frequently experimental approach/style, as they helped make things feel consistently fresh and new. Also, the fact that the timeline of Chris' childhood happens to line up almost exactly with my own made the whole thing especially enjoyable. They captured growing up in the 2000s perfectly.

I could definitely see this becoming a breakout hit, and to be honest, it may be the best film I've seen at a Sundance premiere (admittedly a limited selection, but I am from Utah, so I try to make it to the festival every few years). In any event, I'm looking forward to watching this again once it gets a wide release to see how it holds up on second viewing.

Didi is a liar. And he lies way above his game to get into things where he has no business being. And that's why Didi's life is one big backfire. So really it's a kind of comedy of errors, charmingly acted and sometimes funny to watch. The poor kid is outnumbered by the women in his family too which does little to bolster his self-esteem, which brings us to his mom, played by Joan Chen, who is a fine actress, but at 63, much too old to be his mom. But do things end badly? It does seem there's a light at the end of the tunnel and that Didi will come out the other end. It's a cute and funny film. Good, not great.

I'm quite stunned that this has a nearly perfect score on Rotten Tomatoes.

I started high school in Fall 2007, so I'm only a year older than this main character. On that basis, I thought I would have connected with Chris' struggle better. Chris was honestly an uninspired and cold hearted protagonist and didn't develop at all throughout the film.

Most of these teen films are chock full of bloody altercations, cussing, drugs, drinking, and awkward interactions between guys and gals. It gets old after awhile and I found myself hoping there'd be a heart to this film, or at least a character I could relate to.

I did like seeing the old style YouTube, FaceBook, AOL instant messenger, and MySpace. And there were some small laughs when it came to the bickering between the brother and sister. But overall, it was a pointless and flat movie. A real downer actually.

Director Sean Wang's semi-autobiographical tale of 13 year Didi (Izaac Wang) takes a simple approach to documenting the few months before he hits high school. Set in Fremont, California in 2008, Didi does what most young teens do - hangs with his friends, experiments with drugs and takes his first few awkward steps in dating. His mom, Chungsing (Joan Chen; very good) takes care of Didi and his older sister, Vivian (Shirley Chen), while their absentee father is overseas on a job. Their paternal grandmother Nai Nai (Zhang Li Hua) is more than a bit domineering, always correcting Chungsing and sticking her nose in everyone's business.

Wang, who also wrote the screenplay doesn't add any dramatic events to juice the storytelling. Like Didi's hobby (videotaping), the filmmaker simply sets out to document a brief time in a boy's childhood. Adolescence is tough enough, but Didi can't help but to seemingly make things worse at every turn saying and doing the exact wrong thing at the most inappropriate moments. It's what makes DIDI both uncomfortable to watch at times, but also bracingly poignant.

There are no great revelations made here, but DIDI is a sweet (if at times, appropriately crude) slice of life. The storytelling slips into being prosaic from time to time, but, it's mostly a winning effort with a touchingly modest ending that hits just the right note.

Chris Wang fondly called as Didi at home, has a sister who is about to move to college. His dad is in Taiwan, leaving his mom to run the home on her own while tolerating the nagging mother in law. Mom's a painter and is still struggling to make it on her own. With high school days nearing, Didi just want to be someone he is not ready to be yet. He is a nervous little boy who is desperate to make this transition into this cool teen, he just ends up messing things unintentionally. Didi depicts these few days of his life where he gets to know himself and his loved ones a little better.

This is a phase of life which one tends to relate irrespective of which part of the world one is from. You want to impress your crush, want to look cool infront of your friends and ofcourse be the popular kid while be a rebel at home and it's the age where you tend to be rude at home. The director Sean Wang succeeds in capturing all of this perfectly and since it's semi autobiographical, he was able to give it a personal touch. Be it the brother - sister bonding or the inner struggle he has, with only a bot left to be his only friend, these were touchy moments but the best ones was reserved for Joan Chen as the mother and it is these scenes towards the end that took the film a notch higher. Or probably it's my age that though I relate to Didi, I understand the mother's sacrifices more.

Dìdi is Sean Wang's directorial debut feature and I felt very compelled a day after watching it to write a little review. The film brings us into Sean's semi-autobiographical tale of Chris, a Taiwanese American 13 year old growing up in the late 2000s in Fremont, CA.

If you know Sean's work, you understand how much depth and visual finesse he brings to his short documentaries. His transition into fiction filmmaking after his masterpiece (recently Oscar® Nominated!) short doc, Nai Nai & Wài Pó, plays with the overlapping characteristics of doc filmmaking and narrative filmmaking in such a unique and transformative way. Even casting his own grandmother to play Chris' grandmother in the film blends this idea of his own family and personal documentation blending into his narratives.

Sean mentioned that the root of this film is a dissection of shame and what it means to be a 1st generation teenager growing up in America, which entails coming to terms with our parents struggles in assimilation, but also finding a way of coping with our otherness in the face of becoming "American."

The backdrop of all of these periods of growth and self-discovery align at the birth of Facebook and crux of MySpace where our identities are formed and shaped by what we put on the internet and the image we curate; so many of the dramatic moments in the film are simply clicks of a mouse on certain tabs or icons on a computer screen. Watch this film in a theater and listen to the audible gasps at certain clicks that Chris chooses to make. It takes the budding desktop film idea noodled around with in the mid 2010s and forms a wonderful dramatic use of film form that enhances the found footage and skater film techniques.

The authenticity of the film also finds its way in how it portrays the adolescent behavior. Dìdi doesn't shy away from the toxic aspects of growing up in male friend groups, the rampant homophobia, violence, isolation, and sometimes casual as well as overt racism that weaves in and out of Chris's life.

But the secret sauce in what makes this film so deep is the lasting moments of silence that are brought to life in wonderful portrait and painterly cinematography by his creative partner and DP, Sam Davis. Sam, is an incredibly talented filmmaker in his own right, but it's in his mastery of the close-up in both Dìdi and Nai Nai & Wài Pó that connects us with Sean's personal history and truth that would be otherwise impossible to truly grasp.

It's watching Chris listen to his mom and his sister. These beautiful glimpses into Sean's own reflection of his family that play as a beautiful contrast to the comedic and adrenaline tempo catalyzed by the skater and adolescent influence.

This film is gonna go down as a landmark in Asian American cinema, 1st Gen Immigrant Diaspora Cinema, an authentic insight into growing up in the Bay Area, a Sundance gem, but more importantly as a really splendid period peace that takes me back to a really formative period in my own life balancing so many of the aspects of youth, belonging, and shame that Sean illustrates.

After you watch this film, I'd encourage you to find clips of Sean talking about the making of this film and the struggle to separate yourself from the personal but also wield it as the most powerful tool in your arsenal as a filmmaker. Listen to Sean mention Spike Jonze as one of his core influences in transitioning from a filmer to a filmmaker. The boundaries and conventions of skate videos being broken in order to turn into innovative cinema. It's some of the finest form of breaking down cinematic gatekeeping.

This film joins Stand By Me, Ratcatcher, Minding The Gap, Florida Project, and Rushmore as one of the great coming of age films. It's been lovely to get to know Sean and Sam this past year and I'm very proud to call them both peers and inspirations. Go watch Dìdi and give Sean and Sam their well deserved Oscars.

Didi is a beautifully intimate film that delves into the complexities of family, belonging, and self-acceptance. With its grounded storytelling, the film follows its young protagonist as he navigates cultural expectations and personal insecurities, creating a deeply relatable coming-of-age journey. What makes Didi so affecting is its honesty-there's no forced drama, just authentic moments of love, frustration, and quiet resilience that feel true to life. The film captures those subtle but powerful emotions that often go unsaid in families, making it both touching and thought-provoking.

Visually, Didi embraces a warm, natural aesthetic that highlights the comfort and tension within family spaces. The cinematography often lingers on intimate moments-a shared meal, a passing glance, a hesitant smile-allowing emotions to unfold organically. The film's gentle score complements its introspective tone, adding depth without overwhelming the narrative. Didi stands out for its simplicity, reminding us that some of the most powerful stories are the ones that feel closest to home.

The movie "Dìdi" is a coming-of-age story about Chris Wang, a 13-year-old Taiwanese American boy grappling with his identity and the challenge of fitting in while growing up in California in 2008. Writer and director Sean Wang captures on screen the cultural shock experienced by all children of immigrants during their adolescent years.

As someone who has been labeled a "banana" (yellow on the outside but white on the inside), I see a lot of familiarities that Didi faces when entering home and being bombarded with her family's Asian culture and when leaving home and trying to integrate with American culture. The movie feels much more authentic thanks to Izaac Wang's outstanding performance as Didi. He perfectly embodies the struggles of a young man caught between two cultures, striving to find his place and satisfy both.

Didi fulfills the quota of those grounded films, which exhibit a good sample of reality. Set in the 2000s, this film shows us the deep niche of adolescence in those not-so-distant years, full of musical and urban references and with nascent social networks. Little Didi navigates the waters of social consolidation, although they are not always calm. His attempt to fit in is constantly truncated and influenced by the hormones typical of his age. Perhaps he has learned several lessons, but that doesn't prevent him from making the same mistakes again in the near future. A script like this is worth seeing, listening to, understanding, and processing.

I applaud a film like this, even if all the other technical aspects only serve the same story, discreetly remaining in the shadow of what is correct, without really standing out. Good acting, good direction, excellent script.

Didi is highly recommended.

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.

This is one of the most realistic 'coming of age' stories in recent times. If you grew up in the late 90s/early 2000s, especially in the US, there's going to be so much to relate to. Regardless of when/ where you grew up, the contents of the film are so universal that there's something or the other that all of the audience is going to find in common.

This film also throws light on what a parent/s have to go through and how young teenagers look at the their parents and the world around them. After the film, don't be surprised if you find reaching for your phone to call of your parents. If you're a parent, especially with a child in this age group, consider watching this movie and if you like it, watch it with them. Will make for an interesting conversation and be a bonding exercise.

This is a slightly slow movie, which could have been more, but it's a good film nevertheless, mostly based on the director's life and upbringing. It was also the winner of a couple awards at Sundance last year.

About as authentic as you can possibly get in its time and place, culture, and coming of age details. It's a reminder of how hard growing up can be, with social media a depressing presence, the feeling of saying or doing all the wrong things, and then on top of it dealing with little lines like "you're pretty cute for an Asian" which hit like a dagger. The relationships between the family members are brilliantly written (including the dad working overseas notably playing zero role), and the film defies any kind of simple feel-good turn in its plotting, yet somehow leaves us with the feeling that the boy will survive all this, maybe the visual arts club being the first step to finding his path. Great performances all around, with my favorite moment being the grandmother going on and on, exaggerating the harm coming to the boy's future life. Also loved the on-location filming in Fremont, CA, with the houses (outside and inside), parks, hills, streets, etc all resonating.

Not a bad start for Sean Wang as this is his first movie he's directed ever. No spoiler alert , if you have some 1hour and 30 minutes for a movie then you could consider this comedy drama. I think Asians make good actors and actresses but one thing I have found challenging about watching their movies is that they are mostly in their language and you have to keep reading subtitles the whole period of the movie . But Asians-Americans are an exception with this one. Didi reminds me of some old school teen drama like Here We Are . I recommended Didi for my brother to watch with his girlfriend and turned out they liked it .

This is definitely an overrated, one-time watch movie.

A troubled, "fatherless", obnoxious 13 year old having a crush, trying to fit in with the "cool kids skateboarders" supposedly ends up "changing" for his mom. That's pretty much it.

The ending is also one of those frustrating "WHAT?! That's it?!" type of unsatisfying, abrupt endings that will annoy you for investing all the hours for.

As an Asian myself, all the relatable, stereotypical scenes are there with the parents.

However, the relationship with the boy and his sister is really unrealistic; the boy does the most disgusting, disturbing thing to his sister (a real crime), says how much she hates her, yet all of a sudden she turns into this motherly figure to him. It's a very cookie cutter movie drama. She's going to turn completely 180 towards him because she's moving to college? I couldn't handle the extreme cheesiness there.

I find it boring why it's always stereotypical skateboarding as the "cool hobby" in high school movies as well.

The only point and highlight of the movie, I feel is showing off the nostalgia of the AOL Instant Messenger and MySpace/Facebook and early days of YouTube - but that is pretty gimmicky when those scenes are the most memorable about the movie than anything else.

I also don't think it's really accurate in the timeline of 2008; people weren't using AOL Instant Messenger/MySpace then. Also, how the movie kept having the obnoxious kids saying "bro" and "bruh" all the time; I'm pretty sure it wasn't done constantly back then like it is nowadays.

Another Asian-American/High school movie called "Better Luck Tomorrow" (2002) by Justin Lin (Fast and the Furious), also Taiwanese-American, produced by MTV, is a more interesting movie.

I like it better than most first timer directors feature length works. I felt that there was a strong vision of what the director wanted. It recapture that weird internet age where the internet is slowly replacing cellular based phone and is like it. But there are certain sections that I felt could be better, the overall family storyline possibly could have been focused more.

I felt the racial component of a immigrant family is severely missing in this film. It hits the basics of these kind of plot but barely touches of how they see their pre-dominantly Chinese speaking mother or how the model child is percieved. The siblings, in general, is underwritten for me. It just rises in action without build up and the conclusion of their conflict is very rushed. Also, I think that how Asian-Americans stratifies themselves within each racial group in this is barely even acknowledged, which is shockingly even present in this film. This are more personal preference AND that speak a lot of how good this is even for a first timer.

Its biggest strength lies in the friends storyline, where it really hits that pubescent splurge to adulthood where certain "focus" just changes and shifts within a friend group. I love how it tackles those issues. It holds much of my rating on that.

Recommended. Great film.