There's the tempestuous Wai-wai (Heidi Lee), who had to attend to both her drug-addict mother and that prematurely jaded younger sister of hers, as well as a hoodlum boyfriend, then there's the mute Yee-gee (Rainky Wai), whose parents had long abandoned her to her grandmother and now works turns tricks to earn money while not at school.
Making up this deadly troika is Yan (Kabby Hui), a poor little rich girl electing to rebel against the affluence brought about by the remarriage of her mother Irene (Irene Wan, from Lonely Fifteen) What brings them together for the first time is the mobile messaging app We Chat (thus the title), and it's through the visualization of the use of this device – as the messages were constantly shown on screen in its gaudy, speech-bubble splendor – that Yung addresses the machine-gun and highly narcissistic communication model which shapes the three characters.
But these two pre-adolescents were just thrown into the mix on the side.
The main dishes here – and spicy ones they are too – are three late teenage girls flirting with ruin like there's no tomorrow.
Firstly, there's a young schoolgirl, still too short to actually comfortably cook a meal at the stove, boasting of a street-wise cynicism well beyond her age, as she talks like an adult when confronting foul-mouthed hawkers and advising others on placing wagers on football matches; then there is the pre-adolescent boy who fails to react at all to his friend's lewd remarks about his mother and his sister.
Both are pointers to future lives to be lived without principles, prologues to an even more scary and heartless generation to come.
I’ve spent a lot of time figuring out who I am, what is important in my life, who I love and how best to live life, as an expression of all these questions.Such nuances, however, also come hand in hand with the eye for the urban backdrop which could help reveal the mental landscape of the characters.The wide range of settings – from Yan's cold-chic white apartment, to the ominous tenements or back-alley staircases in which Wai-wai and his boyfriend wander around – certainly provides the film with a distinct geographical mark, thanks to not just Yung and his screenwriter Lou Shiu-wah but also cinematographer Shi Yue and art designer Janice Chan.I suppose we don’t need each other’s approval for our romantic relationships, and I am sure your relationships are really fantastic too.However, I do love my partner Sean, who does a good job of looking after me, ensuring I am fed, bathed and warm enough every day, and generally cheering me up to be a happy, jolly girl.
Positioned explicitly as a 21st century take of the 1983 film – Johnny Mak's juvenile-delinquent drama cuts a marked presence here, with Yung interweaving his film with grainy clips from that perennially relevant classic and even recruiting that film's two leads to play older versions of their characters -- actually proffers a less fatalist view for what lies ahead.