“Once you get there, you think, that’s a little embarrassing or revealing or scary... but ultimately, I learned that is where the good stuff is,” says Taiwanese-American director Sean Wang about writing indie breakout Didi (弟弟), which debuted at Sundance Film Festival Asia 2024 in Taipei last month.
Didi is a heartwarming coming-of-age story centered on the Asian American experience. Not just a 2000s teenage nostalgia piece, but a raw, unflinching look at immigrant families and adolescent identity struggles. It quickly became the centerpiece of the event, striking a chord with not only those sharing similar backgrounds but anyone who’s ever felt out of place.
Told through the eyes of 13-year-old protagonist Wang Wang in 2008, the film conjured the eerily accurate nostalgia of Windows XP, instant messaging “:)” and slogan skater tees, a welcome throwback for all millennials. However, the movie’s stark reminder of the 2000s ubiquitous racial slurs and microaggressions jolts us back to a time when growing up “other” exacerbated the already surging hormones and crippling insecurities of the teenage ordeal.
Photo: Hollie Younger
Growing up in California, Wang Wang is split between the academic pressures of his Taiwanese mother and paternal grandmother, a screaming disconnect with his older sister and the desperate need to fit in with his peers — and American culture at large. Take Wang Wang introducing himself as “Chris” to impress some skater dudes and bluffing to his middle school crush that of course he’s seen E.T. and Star Wars.
WRITERS BLOCK
At Sundance Festival Asia, Wang spoke to the Taipei Times about his introspective writing process and the challenging feelings it brought to to the surface.
Photo: Hollie Younger
“A lot of the movie came from a personal place,” he said.
Wang grew up in the Bay Area with a similar family dynamic and background to the film’s protagonist, which was “deeply rooted [in the] immigrant community.” But he still suffered the movie’s central theme: the teenage affliction of never quite fitting in.
“I grew up around a lot of Asian American kids and that was a unique thing to feel like you don’t fully belong in a place where you feel like you should,” he said.
Photo: Hollie Younger
Utilizing Wang Wang’s friendship groups as the core cast, he compared the movie to Superbad or Stand By Me, in “the irreverence of the friendships and also how poignant they can be.”
But where the movie shines is the emotive and nuanced portrayal of family dynamics between first-generation immigrant children and their parents.
Powerhouse Joan Chen, star of The Last Emperor, played Wang Wang’s mother.
“The entire mother-son storyline was something I was hesitant to explore at first,” Wang said because it demanded difficult conversations with his own mother, who played a role in the writing of the film.
Didi conveys the powerful interplay of native and local languages in a multi-generational immigrant household. The interspersing of English words into Mandarin Chinese by his Taiwanese mother feels natural, because it is. Wang asked himself “how would my mom say it,” eventually inviting his own mom to script readings to find out.
DIRECTORIAL DEBUT
On the third day of the Sundance event, Wang appeared among a vibrant lineup of Hollywood’s newest directorial talent at the “Working with Actors” panel.
Wang told the panel that he specifically cast kids with little to no acting experience and chose his protagonist’s diverse friend group based on chemistry tests. The kids were allowed to run off script, resulting in the desired authenticity and capturing genuine reactions to timeless teenage experiences like kissing in a playground.
Between teenaged newcomers and seasoned pros like Joan Chen, Wang said his directorial brain felt “split in two,” a dichotomy unseen in the movie’s seamless character building.
Wang used his own life as art, saying much of the movie’s messaging is, “everyone has things they’re embarrassed about or ashamed about.” By daring to dive deep into his own psyche and childhood memories, then “chase that, unpack it, translate it into something that works for the movie,” Didi is ultimately defined by this almost-biographic dimension.
In the final anecdote of the panel, Wang recalled asking his lead actor and teenage self, Izaac Wang, how he felt about wrapping up filming. The 16-year-old responded: “Wang Wang is a loser.”
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
While Americans face the upcoming second Donald Trump presidency with bright optimism/existential dread in Taiwan there are also varying opinions on what the impact will be here. Regardless of what one thinks of Trump personally and his first administration, US-Taiwan relations blossomed. Relative to the previous Obama administration, arms sales rocketed from US$14 billion during Obama’s eight years to US$18 billion in four years under Trump. High-profile visits by administration officials, bipartisan Congressional delegations, more and higher-level government-to-government direct contacts were all increased under Trump, setting the stage and example for the Biden administration to follow. However, Trump administration secretary
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,
In mid-1949 George Kennan, the famed geopolitical thinker and analyst, wrote a memorandum on US policy towards Taiwan and Penghu, then known as, respectively, Formosa and the Pescadores. In it he argued that Formosa and Pescadores would be lost to the Chine communists in a few years, or even months, because of the deteriorating situation on the islands, defeating the US goal of keeping them out of Communist Chinese hands. Kennan contended that “the only reasonably sure chance of denying Formosa and the Pescadores to the Communists” would be to remove the current Chinese administration, establish a neutral administration and