As a child of Asian descent growing up in America during the late 90s and early 2000s, I can deeply relate to the experiences of both Chris and director Diogo Wang. I was an outsider among outsiders, surrounded by people who looked like me but felt disconnected from the mainstream culture that dominated movies, music, and sports.
In the year 2008, MySpace was trendy, flip phones were widely used, and it wasn’t easy for a thirteen-year-old boy to fit in. Despite technology advancing significantly since then, “Dìdi” – an engaging and often humorous tale set in the early 2000s – highlights that the pain and embarrassment of adolescence remain universal.
As a movie enthusiast, I’d put it this way: “Boyhood is a chaotic ride,” I reflect, sitting comfortably in my living room during a Zoom call. At 30 years old, I may have left boyhood behind, but its messiness lingers within me. It’s fascinating how the journey through adolescence remains remarkably similar, generation after generation. That’s why watching ‘400 Blows,’ a film produced before my time, still resonates deeply with me.
At Sundance in January, “Dìdi” was unveiled to critical acclaim, with many viewers identifying with Chris Wang, a socially awkward Taiwanese American teenager living in the Bay Area. As he strives to belong, Chris pushes away from his loved ones and gravitates towards something more alluring but elusive. However, his clumsy attempts, which consistently push those closest to him further away, resonate deeply with us all – who among us hasn’t strained our relationships with our mothers during our teenage years?
“Didi,” set to be released by Focus Features in theaters starting this Friday, is similar to stumbling upon someone else’s home videos. It’s intriguing, yet carries an element of peeking into someone else’s life. Witness Chris during his final days of summer vacation, pestering his college-bound sister at mealtimes, fumbling through his first kiss, and transitioning from one friend group to another of older skaters, who ask him to record their ollies on camera.
A significant portion of the film “Didi” was captured in the skate parks and schoolyards of Fremont, California, where Wang spent his childhood. The movie’s creation also blends reality with fiction in other aspects. For instance, Chris’ room scenes were filmed in Wang’s old family home, with posters and stickers from his teenage years still adorning the walls. Additionally, Wang’s grandmother portrays Chris’ grandma in the movie, while his mother functioned as a location scout during production. While this was a necessary aspect of creating a low-budget indie, it also adds an air of authenticity to “Didi.”
According to Carlos López Estrada, a film producer, Sean aimed for the production to embody a genuine grassroots filmmaking experience. He believed that the involvement of his community was crucial. To achieve this authentic, raw vibe, they couldn’t present themselves as Hollywood invading Fremont. Instead, they needed to approach the city with open arms and eagerness, welcoming any assistance and backing they could receive.
As a movie reviewer, I’d say, “In ‘Didi,’ Wang explores the raw emotions of growing up with remarkable accuracy, even if not every detail is drawn from his own experiences. The film resonates deeply with me, as it brings back memories that, while not identical to my own past, are undeniably true to life. A compelling comparison could be made between ‘Didi’ and Greta Gerwig’s ‘Lady Bird.’ Both films capture the essence of adolescence, although ‘Didi’ presents a protagonist who, while sharing a surname with its creator, Wang, is more reserved and self-destructive than the filmmaker himself.”
Chris faced genuine struggles, mainly due to the feelings of vulnerability and self-consciousness that came with being an Asian American boy during a time when few movie stars, musicians, or athletes he admired shared his appearance. As Wang recalls, “Growing up, I was an outsider even among outsiders. Surrounded by people who looked like me, but the larger society and culture didn’t resonate with our world.”
Movies such as “Stand by Me” and “The Sandlot,” which Wang cherished for their portrayal of strong friendships, inside jokes, and the fragile innocence that marked the shift from childhood to adolescence, were his favorites. The majority of the actors in these films are white, and the stories unfold long before the internet and social media transformed our society. This period began around 2008 when “Dìdi” is set, but the technological revolution that made us all reliant on smartphones and deeply engrossed in the digital world was just starting to take shape. Wang refers to this time as the “pre-technology technology era.”
“During my childhood, the internet played a significant role in my life, not like social media platforms do now for many people, where they’re deeply ingrained. Instead, we spent our afternoons outside playing and had carefree days. However, once we returned home each evening, we would instantly log onto MySpace, AOL Instant Messenger, or YouTube.”
As a film enthusiast, I found it fascinating how Wang’s film references some social media platforms that were long gone by the time his talented young cast made their acting debut. For me, Izaac Wang, who portrays Chris in the movie, had minimal experience with these defunct sites. However, what truly challenged him on set was mastering the use of his character’s flip phone. I couldn’t help but relate to his struggle since I, too, found it a daunting task. “I just couldn’t get the hang of it,” Izaac admits. “Typing and texting on that thing were beyond my abilities. I was painfully slow. In frustration, when we no longer required it, I symbolically discarded it – though in reality, I didn’t actually throw it out the window.”
In Didi’s production, most of the cast were inexperienced actors. Despite their lack of formal training, they deeply grasped the complex emotions of adolescence. Wang motivated them to ad-lib and share their honest reactions with him, albeit editing out their anachronistic slang. “I’d often remark, ‘Superb! However, avoid using terms like ‘bad’ or ‘dead-ass’,”” Wang recounted.
To achieve authentic performances, Wang transformed the set into what he referred to as a “summer camp.” He brought in cotton candy machines and churro trucks, and organized themed days for the cast and crew to dress up or showcase their talents. The goal was to establish a carefree atmosphere, allowing the children to be themselves. As Wang explains, “We wanted to tap into that raw, boyish excitement. I didn’t want everyone idly waiting for us to set up next. If the kids felt like running and jumping over fences, my attitude was, go for it.”
As a devoted cinema enthusiast, I couldn’t help but feel a sense of anticipation as I waited for “Dìdi” to hit the screens. This was Wang’s first feature film after an impressive string of short films that left critics raving. However, Joan Chen, the seasoned actress who portrayed Chris’ worried mother, shared an intriguing perspective on the set. She expressed that despite the immense pressure, Wang remained unfazed. “He never raised his voice,” she recalled. “At just under thirty years old during our production, he exuded an air of composure and self-assurance that was truly remarkable.”
During an interview, Wang expresses his unwavering dedication to the seven-year journey of creating “Dìdi,” from scriptwriting to casting and securing financing. Occasionally, he is taken aback by how drastically his life has transformed. In January, Wang premiered “Dìdi” at Sundance, receiving a standing ovation. Following the screening, he returned home to the Bay Area to watch the Oscar nominations with loved ones for his Disney+ documentary short, “Nǎi Nāi & Wài Pó.” Before the announcement, his sister advised him to dress up for the occasion. When Wang discovered that he was an Academy Award nominee, a video of him joyfully celebrating with his grandmothers and mother spread online. “I’m glad my sister persuaded me to get dressed,” he remarks.
The blessings didn’t end with the nomination. Upon returning to Sundance, Wang discovered that “Didi” had secured a distribution deal with Focus Features – the independent film studio responsible for producing “The Holdovers” and “Belfast.” As if that wasn’t enough, his movie went on to receive both the Audience Award and an ensemble cast prize. “It’s just like,” Wang reflects, “I need to take a moment to ensure things remain stable – to make sure the ground is still beneath me.”
Wang is amazed and hard to accept that this unfamiliar person became the sensation in the independent film industry instead of him.
He expresses, “There was an enormous gap between the recent events affecting me and how I perceived myself. I’m still that person lounging in my cluttered room, enjoying Thai takeout.”
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2024-07-24 22:17