Whether or not others see it this way, there is a moment early in Cha Cha Real Smooth (2022) that ranks among my favorite scenes of the year. It isn’t a showy scene nor would many notice the significance of director-writer-star Cooper Raiff’s sophomore film doing it. However, as someone who has become hyper-sensitive to representation, there was something almost surreal about watching Bar Mitzvah DJ Andrew (Raiff) talking to Domino (Dakota Johnson) about her daughter. Maybe there was press around it, but by some miracle I was capable of witnessing it free of expectation, only enhancing my surprise when it arrived.
As music is blaring, Andrew notices her daughter Lola (Vanessa Burghardt) sitting by herself. The moment that elevated this from just another goofy, sincere Sundance export was when Domino claimed “Lola is autistic.” The phrasing caught me off guard, if just because I was way too familiar with well-intentioned filmmakers making neurodivergent characters and blowing it on person first language. In less meticulous hands, this scene would’ve featured Domino saying the common phrase “Lola has autism.” The expression isn’t necessarily harmful, but it does suggest that autism within itself is a detachable condition that is somewhat shameful. Using identity first language gives leverage to the idea that autism isn’t shameful and that it’s just a different way of thinking.
Given interviews where Raiff admits that he has disabled relatives, I found myself growing cautious and excited in equal measure. It is rare for someone to write a great autistic character without having to code them (see: The Mitchells vs. the Machines (2021)) or getting it totally wrong (see: Music (2021)). The idea of making this one of the first things known about Lola meant that there was little to go off of. While Andrew as a character appeared to be one of the nicest, most supportive men in modern indie cinema there was still concern about whether he was going to do an A.S.D. supporting character the justice they deserve. Maybe she wouldn’t even factor into the plot for more than five minutes. Nervously, I watched on.
Before really deconstructing Raiff’s depiction of autism, I want to say that this AppleTV+ title is another hit for the platform and further evidence that he’s a voice to watch. I was personally a fan of Shithouse (2020) and felt that his earnestness was a refreshing break from the more cynical approach things are going in. While I don’t know that everyone will love the niceness of Andrew and how much he encourages Bar Mitzvah guests to dance to their heart’s content, there is something delightful about cinema not always having to be about despairing economic issues. There are still conflicts and Andrew does evolve as a character, but this isn’t rooted in devious backstabbing and lives collapsing. It’s a feel-good movie and one that at times is jarring in its optimism, but ultimately won me over.
Something exciting that sets Cha Cha Real Smooth apart is Raiff’s decision to catch an actually autistic actress. Better yet, there is a clear sense of collaboration between Raiff and Burghardt in helping to make the character one of the most authentic characters I have seen. While there are moments that can be perceived as ableism, they’re never done in vindictive manners. Domino as a mother doesn’t feel burdened for her daughter struggling with social cues nor does Andrew selfishly turn any frustration with her into an attack on her neurodivergence. What is there are natural human struggles, that would be there if the two people were on level playing fields. In fact, there is an astounding level of proper allyship in Andrew’s character when, upon babysitting her, he chooses not to overstep boundaries and asks for ways that he can respect her boundaries. This is done especially by asking direct questions, like if he can scratch her back as a soothing action. When she says no, he respects her wishes. Small details like this reveal something groundbreaking. Raiff as a creator intentionally wrote the character not as an autistic trope, but as a normal human being.
The only criticism I would have around Raiff’s depiction is something that this film isn’t. As a story about Andrew, this is a very good movie. However, the lack of autistic leads throughout cinema makes me selfishly want more films centered around their journeys. Putting aside that bias, I am happy to report that everything after this is actually very well done. Andrew is mostly there to date Domino, but there is a connection between him and Lola that is infectious and honestly reflects the diversity that an autistic person would have between varying individuals that go beyond social awkwardness. There’s a comfort in parents but there’s also a restriction and calculated dialogue one forms with them that is absent when she slowly befriends Andrew, and I don’t think that I’ve seen a film handle it this well.
To start at the beginning, Lola is a character that is easy to get wrong. The fun irony of the piece is that she has to attend Bar Mitzvahs seemingly every weekend, meaning that she is constantly in connection with sensory issues such as loud music, bright lights, and crowds. It makes sense to see her sitting at a table by herself, looking aimlessly and finding ways to self-soothe. There’s a difficulty of connecting with people in a very active situation, let alone without encouragement or any strong relationships to respond to. Sometimes having a friend as an entry point into social groups makes a difference, where it can help someone to stop from freezing or going mute. It makes sense that she would go into a quiet hallway and stim by playing with a Rubik’s Cube. Even if other children accuse her of potentially not being a good dance partner because she is autistic, she is allowed to be herself. The narrative never criticizes her for being intimidated by the overwhelming scenery.
There are points where Andrew as a character feels unreal because of how likable he is. More importantly, I don’t know that I’ve seen an autism ally who is this selfless, this encouraging to help someone explore the world without being forceful or needlessly twee. He gets her noise-canceling headphones, and even assists her in dancing one night. Her moves may be uncoordinated, but there is an expressiveness. Movement makes her happy and there’s an ability to finally embrace how she feels, free of the self-consciousness that makes her mask in public. Given that Burghardt would later give interviews claiming how she was self-conscious about flapping her hands in real life, it's impressive to see how minor stimming that helps regulate emotions can be viewed on film without judgment. She is allowed to be herself, and it’s downright amazing.
Even the way that her bedroom is designed feels lived in. Along with owning a pet hamster, Lola collects an odd mix of things, reflecting a special interest. There’s no greater purpose for this other than it makes her happy. Andrew not making snide remarks like “That’s weird” and praising her hamster for being cool shows the perfect way to encourage autistic children to feel comfortable. Given that Andrew asks direct questions with language that is clear and concise, it’s evident how much collaboration Raiff did with Burghardt. Given that Andrew is also playing babysitter, it would be easy to have him play a dominant player in Lola’s life, infantilizing her as helpless. While there’s certain co-dependence on display, it’s more the relationship of a teenager and parent than anything as needlessly tragic as an overdramatic breakdown that leads Andrew to rethink his whole life. It’s wholesome and, more importantly, normal.
To go further into their dynamic, a thing that I immediately responded to was the initial bedroom conversation between Andrew and Lola. In certain circles, there’s been criticism around Lola’s speech lacking consonants and that she talks like Data from Star Trek. On the one hand, this has been a negative stereotype for decades now with examples like Rain Man (1988) being the most popular. The idea of autistic people being robotic and cold is an unfair comparison in part because of how unwilling this trope is to reflect the complexity of the autistic speech pattern. There is the double empathy problem, which finds neurotypical individuals struggling to understand neurodivergent personalities and thus creates a rift. Also, it’s just a matter of how information is processed. If one is writing a “robotic” personality centered around a lack of emotion and an inorganic absence of social awareness, then that is where the issue lies.
Lola may not have the most conventional speech pattern when talking to Andrew, but it is far from a stereotype. Her language is direct, full of clear language. It is highly literal and reflects a seriousness that is very guarded. When meeting new people, autistic people are likely to mask themselves to avoid negative judgment. It also comes from a lack of understanding of someone else. Without knowing who Andrew is, his niceness could be his own insincerity and thus Lola must be careful. Being vulnerable is difficult, especially since people have probably been unfair to her when she’s been publicly autistic. Away from her mother, this is a difficult situation for anyone. Who knows if this man is just faking being nice?
As a whole arc, I do think that Lola’s use of conversation with Andrew may be one of the most accurate depictions of how an autistic individual bonds with others. While I do firmly believe that every autistic person interacts with the world differently, I recognize Lola so clearly as someone who is slowly letting Andrew into her life and feeling more and more comfortable with her. The calculated language doesn’t go away, but the speech pattern shifts to reflect how they understand each other. Among the more charming moments is when they play Scrabble and she plays some high value words. Without making it into a negative, this dorky love of language is another sign of how autistic individuals are highly intellectual or at least study off-beat things that others wouldn’t think to do. Without making her a savant, Raiff manages to give her so much depth. She is smart and socially awkward, but is far from the cinematic trope that has made the rounds. There’s nothing exemplary in terms of career goals for her. She is just autistic and proud of it.
I have an endless amount of respect for Raiff managing to write one of the most three-dimensional autistic characters I have seen. While there hasn’t been a shortage of neurodivergent stories, I do feel like they’re often buried in dull inspiration porn or Simple Jack nonsense that reflects the characters more as props than people. I do respect shows that are trying to make the community more empathetic and real, though sometimes the most revelatory thing about being autistic is not making it their defining trait. I worried that Cha Cha Real Smooth would lean too heavily on this, but instead they reflected someone who felt familiar, who is indebted to being A.S.D. without having to be seen as a burden or inspiration to others. She is a normal, nice girl. Along with Kayla Cromer on Everything’s Gonna Be Okay, I am excited to see if media continues to embrace Actually Autistic perspectives and help normalize the depiction and subsequent treatment of autism.
There are dozens of points throughout Cha Cha Real Smooth where I was ecstatic simply because of how real Lola felt. Watching her exist as an autistic teenager was revelatory, where flapping her hands and being allowed to not make eye contact without making it a problem is beautiful. For a film that wasn’t created by an autistic filmmaker, it does an amazing job of listening and incorporating what’s necessary to make it feel real. To me, this is one of the key benchmarks we should be striving for in representation. What makes it even better is that it’s in a really fun film as well. I’m happy for Raiff and Burghardt and only wish the best for their careers. I hope everything you do is as lovingly crafted as this.
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