“Dìdi,” the semi-autobiographical debut from director, writer and producer Sean Wang, delivers just that. It follows 13-year-old Chris Wang, or “Wang Wang,” as his friends call him, during the summer between middle and high school. His family, who affectionately call him Dìdi, Mandarin for “little brother,” are Taiwanese Americans living in Fremont, California, in 2008 — something viewers could likely pick up on even quickly with the use of flip phones, instant messaging and Myspace throughout.

At the core of this story of a young boy wanting to fit in, navigating his first crush and feeling the ebbs and flows of young friendships is his mother, the only person who sees him for who he is. As many 13-year-old boys feel at times, Chris just finds his mom, beautifully played by Joan Chen, to be unbearably irritating and embarrassing.

Throughout the well-paced story, Chris grapples with wanting to push away those closest to him, saying cruel things that can’t be unsaid, and simultaneously wanting their approval and love more than ever before.

In a wistful moment, after Chris and his mom, Chungsing, have cooled down from a big fight, Chris asks her if she’s ashamed of him. Through a poignant monologue, Chungsing tells him she could never be ashamed of him and that he is her dream. It’s a sweet moment and a sweet thought, but it also hits on a pressure many children of immigrants feel: to live up to their parents’ wildest dreams.

Izaac Wang, a revelation as Chris, seamlessly portrays those feelings of pressure and fear of disappointing family. His performance makes you appreciate that fraught time on the cusp of high school for what it taught you, but it also makes you appreciate that it’s over.

For all the emotional punches he packs as we follow Chris’ journey, Wang is also effortlessly hilarious in the film’s lighter moments.

From searching “how to kiss” on YouTube to fretting over how to respond to his crush’s IMs with his buddies, Wang pulls you in right away and doesn’t let go.

“Dìdi” premiered at the Sundance Film Festival, winning the audience award and a special jury award for its ensemble. It was one of the festival’s biggest discoveries and it was praised at the time for how it fostered nostalgia for the aughts — although many millennial viewers were shaken by the idea of a film set in 2008 being a period piece.

Creating something that feels nostalgic or captures a moment in time is no easy task, but the film pulls it off, largely thanks to the stellar performances. Several of the teen characters are played by first-time actors, which creates a palpable authenticity. The young actors also, refreshingly, don’t look far off from 13 in a departure from many films with teen characters that cast older actors.

That realness is already there, given that Wang infused much of his childhood into the story and filmed on location in his hometown. He also cast his own 86-year-old grandmother as the endearing Nai Nai, who delivers comedic relief as if she was a veteran actor.

In a memorable scene, and a glimpse at Chris’ soft spot for his grandmother, he films her to feed his hobby of creating YouTube videos. As he gets closer to her face with the camera, she says she’s ugly and he responds that she is beautiful, and they exchange “I love yous.” It’s a quick yet moving reminder that under the layers of angst and the uncertainty that comes with times of transition, Chris is just a kid who loves his family and wants to do right by them. And then the moment is over.

“Dìdi’s” greatest strength lies in the balance it strikes between moments of levity and gravity, often prompting waves of laughter seconds after evoking tears.

Several shots throughout the film show Chungsing affectionately staring at her son, waiting for him to acknowledge her to no avail. Once Chris has experienced more of the messiness that is being 13, he doesn’t just look back at her. He finally sees her.

“Dìdi” simply makes you wish you could turn back time and hug your mom.

“Dìdi,” a Focus Features release, is rated R by the Motion Picture Association for “language throughout, sexual material, and drug and alcohol use — all involving teens.” Running time: 93 minutes. Three and a half stars out of four.

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Readers may remember the July 4, 2023 release, “The Sound of Freedom,” which aimed to expose the human trafficking crisis. 

Exactly one year later on this past July 4, Angel Studios released “The Sound of Hope: The Story of Possum Trot.” The film addresses the needs of children in the foster care system. Although the storyline of the two films is unrelated, they share a powerful message of mercy.  

At one point in “Sound of Hope,” protagonist Donna Martin holds her foster daughter close and says, “You are a gift and you were only ever meant to be loved.” When life gets rocky (as it certainly does for the many families in the film!), we are all called to place our hope in the one unchanging constant – the unconditional love of God.

“The Sound of Hope” tells the compelling true story of Reverend W.C. and Donna Martin as they pave the way for their rural parish in East Texas to take in 77 children from the foster care system. Ultimately, their witness and example empties the system of every child needing placement within the surrounding 100 miles. 

The film has to teeter a delicate balance between depicting the grittiness of the victims’ struggles without completely scandalizing the viewers. While the movie is overall successful at this, more sensitive viewers may still find certain scenes to be too intense. Other viewers, who may have had first-hand experiences similar to those in the film, may feel like the sufferings and challenges were not depicted strongly enough. 

Overall, “The Sound of Hope” is a well-done film that invites Christians to reflect on the human suffering around them and the need for faith to take action.

There are two layers of themes in the film. At face value, it tells the compelling story of children who “no one else wanted,” but who are welcomed with loving arms into a community of faith. The messiness of family life and the challenges of unconditional love are on full display. Those who have a heart for children in the foster care system will appreciate the attention that this film draws to the foster care needs in the US, which are rarely discussed and all too quickly forgotten. 

On the deeper, more universal level this story powerfully resounds with themes of mercy and the Parable of the Lost Sheep. The children in the foster care system are abandoned, neglected, and desperately in need of love. Just as there is nothing they can do to earn or deserve the love of a family, there is nothing we can do to earn the love of the Father. 

The church community in Possum Trot is a powerful analogy for the mercy of the Father who greets each one of us with open arms. In the film, when a foster child is brought into the church for the first time the whole community cheers and welcomes him saying, “The Lord heard you.” 

In one particularly moving scene, the young boy arrives at his foster family’s home for the first time. His sister waits in the car, hesitantly, but he runs straight to the father who scoops him up in a warm embrace. Although many of us cannot relate to the trauma of being without a home in the foster care system, we can all relate to the human need for belonging and the universal need for God’s fatherly love.

“The only way to move is forward”

Films about the ability of a person to move back and forth in time are not exactly a rarity in cinema, with the concept of ‘second chances” working quite well in conjunction. Usually though, the concept is used in action films for the most part, which makes the family drama treatment Adrian Teh implements in “Reversi” a rather unusual one, for a number of reasons actually. 

Akid is a police negotiator who moonlights as a time traveler, an ability he inherited from his father, whose accidental death actually scarred Akid forever. And although his ability has helped him intensely at his job, with him managing to repeat failed missions, turning them into success, it also comes with a rub. Every time he goes back in time, part of his lifespan perishes. Eventually, Akid meets Sarah, an Aikido instructor, and the two fall in love. Soon they get married and even have a child, but tragedy hits Akid’s life once more. As he obsesses with changing the past in order to prevent the tragedy, two rather impossible options are presented and he is forced to make a choice. Eventually, the truth about his father is also revealed. 

Adrian Teh has come up with a very intriguing movie, as the aforementioned combination works quite well throughout the film, finding its peak after the tragedy. The message is also quite eloquent, in its metaphor: dwelling on the past makes no sense, the only way to move is forget and go forward. The way he presents this message, however, through time travel and intense repetition is quite smart, particularly since it also adds a sense of drama to the movie, which actually increases as time passes. Furthermore, the subtle comedy, which actually starts with the fact that the protagonist’s love interest is an aikido teacher, works quite well too, in entertainment terms.

These elements carry the movie from beginning to the finale; however, there are definitely moments when the whole thing falters. The repetition after the accident, for example, does get tiring after a point, even though it communicates the protagonist’s despair eloquently. It also stretches the movie to 140 minutes, which definitely overstays its welcome. Furthermore, the ending, and in general, the last part, although impactful in its revelations and dramatic premises, does move into melodramatic territory, with its tear-jerking approach not working particularly well. 

The characters on the other hand, are both well-written and well-portrayed. Beto Kusyairy as Akid is excellent in the way he carries his sorrow and guilt, while Shiqin Kamal as Sarah is quite convincing both in her initial feistiness and her later sadness. The chemistry between the two is also great, in one of the movie’s best assets. 

Danny Voon’s cinematography works well in the presentation of the various settings, without any particular exaltation. Chulat’s editing retains a mid-tempo that works well for the narrative, while a number of repetitious scenes are placed in a way that increases their impact and highlights the psychological status of the protagonist. 

Although it could definitely be brief, “Reversi” emerges as a smart movie that communicates its comments well, headed by the excellent characterization and acting.