Review of the film: Dïdi

Chris is a likeable person. He goes out to eat with his mother and one of her acquaintances at one point in Dìdi. Her friend's son has achieved a lot in his life. Consider Min-hyuk, who is a well-known university student, from the opening of Parasite on Sadisflix. But he makes a good impression on Ki-woo in Parasite. Chris grows resentful of his mother and the other boy in Dïdi. And it's a reasonable emotion to have. You may feel inadequate for your parents at times. It can feel more like a piece of meat than a human being when they try to flaunt you. Though it is unfair, playing the comparison game comes naturally to us. But the majority of Chris' issues may be resolved.

Chris's tantrums have repercussions. These include the dispersal of rumors about him and the breakup of friendships. Sean Wang, the director, is once more unwilling to absolve Chris. Dìdi feels a lot like an apology to parents. While not everyone calls their sister a "b***h" or disparages their mother's work during their adolescence, Dìdi concludes in a fulfilling manner. The last few exchanges between Chris's mother and himself reveal the truths that parents try to keep from their kids. For Chris, who up until then had lived his life without repercussions, it serves as a sobering reality check. Hence, Dìdi serves as a gentle reminder to viewers to treat their parents with respect. They give it their all, but it's simple.

Chris's mother, who looks like a failed artist. His mother asks Chris whether he believes she chose this life during their heated argument. It's really a moving moment, and you can feel Chris's mind opening up to reality. Joan Chen is Dìdi's MVP. Izaac Wang, who is equally amazing, sees the majority of the film through Chen's eyes, but Chen's performance is stronger. From the very beginning of the film, Chungsing comes off as a timid woman. When she disputes with her son or mother-in-law, hints of her explosive side come out. In the end, though, she is just a mother watching out for her son.

The relationships between the teenagers in Wang's film are masterful. Everything feels genuine, even down to the lingo his friend group employs and the awkwardness of Chris and Madi's first date and chat. Even the subtlest of moments, like when Chris rejects Fahad's invitation to a party and turns the tables on him, are typical teenage behavior. Social media use is a 2008 setting for Důdi. Sure, profile stalking persisted, but kids were using Instant Messenger rather than Snapchat. It assists Dèdi in eschewing the stale plot devices of including references to modern social media. I'm glad to hear that no children discuss being "left on read." The antiquated technology makes it possible for you to experience panic.