Entertainment
A Chinese Filmmaker Followed Three Girls Through One of Life’s Most Private Moments and the Result at CPH:DOX Is Being Called ‘a Dream Running Parallel to Reality’…
Director Dongnan Chen’s Whispers in May blends documentary and improvisation into a tender, magical portrait of girlhood on the edge of womanhood — and it may be the most quietly powerful film premiering in Copenhagen this week.
There are films that announce themselves with noise — trailers, campaigns, controversy, spectacle. And then there are films that arrive the way a secret does: softly, unexpectedly, and with the kind of emotional weight that takes a moment to fully register.
Whispers in May is very much the second kind of film.
Premiering at CPH:DOX — the Copenhagen International Documentary Film Festival, whose 23rd edition runs through March 22 — the film is the second feature from Dongnan Chen, a Chinese filmmaker whose approach to storytelling refuses to sit comfortably in any single category. Part documentary, part improvisation, part something that resists easy classification altogether, Whispers in May follows three girls in China through a passage of time that is both entirely ordinary and, for one of them, quietly monumental.
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One of the three girls has just had her first menstruation.
That is the film’s emotional anchor — not a dramatic event, not a crisis, not a conflict in the conventional cinematic sense, but a threshold. The kind of moment that happens privately, that is rarely spoken about openly, and that marks a before and an after in a girl’s understanding of herself and her body. Chen has chosen to build an entire film around that threshold, and in doing so has made something that feels genuinely rare: a work of cinema that treats the inner life of young girls as worthy of the same serious, beautiful, unhurried attention usually reserved for subjects the world considers more important.
A Form as Fluid as Its Subject
What makes Whispers in May particularly fascinating — beyond its subject matter — is the way it was made. Chen works at the intersection of documentary and improvisation, a space where the boundaries between what is real and what is performed become productively blurry. The three girls at the centre of the film are not reading from a script, but neither are they simply being observed in the manner of traditional documentary filmmaking. They are collaborators in a process that Chen has described in terms that are almost philosophical.
“I think of the film as a dream running parallel to reality,” Chen has said — and that framing is key to understanding what Whispers in May is trying to do. Dreams are not fictional, exactly. They are generated by real minds, real emotions, real experiences. But they follow their own logic, their own rhythm, their own rules about what can appear next to what. Chen is reaching for that quality in her filmmaking: the feeling of something emotionally true that nevertheless moves with the freedom of imagination rather than the constraint of documentation.
The result, by all accounts, is a film that feels simultaneously grounded and suspended — rooted in the specific texture of these three girls’ lives in contemporary China, but drifting, dreamily, through the larger territory of what it means to grow up female, to inhabit a body that is changing, and to navigate the gap between the girl you were yesterday and the woman the world has already started to expect you to become.
Why Improv and Documentary Together?
The combination of documentary and improvisation is not new to cinema — filmmakers from John Cassavetes to Andrea Arnold to Sean Baker have worked in the fertile space between scripted and unscripted. But the particular challenge of applying that approach to a film about young girls navigating something as intimate as puberty requires a very specific kind of directorial sensitivity.
Chen appears to have that sensitivity in abundance. Rather than imposing a narrative structure onto her subjects, she seems to have created conditions in which the film’s emotional truths could emerge organically — through play, through conversation, through the kind of unguarded moments that only occur when the camera has been present long enough to become part of the furniture. The improvised elements give the film a quality of spontaneity and genuine feeling that purely scripted coming-of-age films rarely achieve. The documentary instincts keep it honest.

Together, they produce something that CPH:DOX has recognised by placing the film in its programme — a festival that has built its reputation over 23 years on identifying exactly this kind of formally adventurous, humanly essential cinema.
The Landscape of Girlhood in Chinese Cinema
It is also worth noting the cultural context in which Whispers in May arrives. Stories about female adolescence in Chinese cinema — particularly stories that centre on bodily experience, on the quiet psychological upheaval of puberty, on the internal lives of girls who exist outside urban centres and away from the dominant narratives of Chinese modernity — remain relatively rare in work that reaches international festival circuits.
Chen’s decision to tell this story, and to tell it in this particular way, is quietly political as well as deeply personal. To say: these girls exist, their experiences matter, their transition deserves forty minutes or ninety minutes or however long it takes of your full and undivided attention — that is a statement, whether or not it is framed as one.
The film sits in a lineage that includes works like Céline Sciamma‘s Girlhood and Lucie Borleteau‘s quietly observed portraits of female experience — films that approach their subjects without sentimentality or sensationalism, trusting the material to carry its own weight. Whispers in May sounds like it belongs in that company.
A Second Feature Worth Watching
For Dongnan Chen, this is only her second feature — a fact worth pausing on, because Whispers in May sounds like the work of a filmmaker who has already found her voice with unusual clarity. Second features are often where directors prove whether their debut was a lucky accident or the beginning of something real. Everything about Whispers in May suggests the latter.
The film premieres at a festival that attracts programmers, distributors, and critics from across the world, and its placement in the CPH:DOX lineup means it will not remain a secret for long. Somewhere between the documentary footage and the improvised moments, between the three girls and the dream running alongside their reality, Dongnan Chen has made something that the world’s film community is about to discover.
Pay attention to this one. It whispers, but it says a great deal.
Entertainment
Hunter Biden vs Nick Fuentes: Behind the Scenes of the Interview That Almost Turned Into a Physical Confrontation…
Alien Mystery Goes Viral: James Franco’s TikTok Posts Have Fans Searching for Answers
A highly anticipated and controversial conversation between Hunter Biden and Nick Fuentes reportedly took an unexpected turn when tensions escalated during the interview, with sources claiming the discussion nearly became physical.
The meeting was reportedly arranged by independent journalist Andrew Callaghan, known for his street interviews and documentary-style conversations. The sit-down was expected to create a headline-making discussion between two figures with sharply different public images and political viewpoints.
According to reports, the conversation grew increasingly heated as the two exchanged strong opinions on various controversial topics. The situation allegedly reached a point where the atmosphere became tense enough that those present had to step in before the confrontation went further.
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A Conversation That Quickly Became Controversial
Both Hunter Biden and Nick Fuentes have attracted significant public attention for different reasons. Hunter Biden, the son of former U.S. President Joe Biden, has frequently been in the spotlight due to political controversies and media scrutiny surrounding his personal and professional life.
Meanwhile, Nick Fuentes has built a following through provocative political commentary and has been a highly debated figure in American media circles.

The interview immediately sparked discussions online, with viewers debating whether the intense exchange represented a genuine clash of personalities or a reflection of the broader political divisions in the United States.
Viral Moment Creates Online Debate
Andrew Callaghan’s interview style often focuses on bringing together people with opposing perspectives, creating unscripted conversations that can sometimes become unpredictable.
The reported tension between Biden and Fuentes has added further attention to the interview, with many waiting to see the full conversation and judge the exchange for themselves.
While the exact details of what happened during the discussion remain the subject of reports and reactions, the incident has already become one of the most talked-about political media moments online.
For now, the interview continues to fuel debate — with audiences asking whether it was a genuine confrontation, a heated exchange of ideas, or simply another viral moment in today’s attention-driven media landscape.
Entertainment
Christopher Nolan Rejects Matt Damon’s Claim That ‘The Odyssey’ Is Hollywood’s “Last of Its Kind”
The filmmaker says he disagrees with the idea that epic theatrical experiences like ‘The Odyssey’ are becoming a thing of the past.
Christopher Nolan has never been one to shy away from challenging conventional wisdom, and this time, the acclaimed filmmaker is responding to a surprising comment from one of his closest collaborators, Matt Damon.
During recent discussions surrounding their upcoming epic The Odyssey, Damon reportedly described the film as the “last of its kind,” suggesting that Hollywood may never again produce a project of such enormous scale and ambition. Nolan, however, made it clear that he doesn’t share that outlook.
“There’s a defeatist aspect of viewing it that way that I don’t agree with,” Nolan said, pushing back against the idea that The Odyssey marks the end of an era.
Rather than seeing the film as a farewell to grand cinematic storytelling, Nolan believes the future of filmmaking remains full of possibilities. According to the director, assuming that audiences or studios are no longer willing to embrace ambitious projects underestimates the industry’s ability to adapt and innovate.
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The comments offer an interesting contrast between two longtime collaborators. Damon, who has worked with Nolan on major productions, appeared to frame The Odyssey as a rare achievement that may become increasingly difficult to replicate in today’s entertainment landscape. Nolan, meanwhile, sees no reason why bold filmmaking cannot continue to thrive.
The upcoming adaptation of The Odyssey, one of the most influential works of ancient literature, is already generating enormous anticipation among moviegoers. Known for his visually immersive storytelling and preference for practical filmmaking techniques, Nolan is expected to bring a fresh cinematic vision to the timeless tale.

The project also continues Nolan’s streak of high-profile productions following the massive critical and commercial success of Oppenheimer, which cemented his status as one of the most influential directors working today. His films have consistently demonstrated that audiences are still willing to support original, large-scale stories when they are backed by compelling storytelling and technical excellence.
Industry observers have frequently debated whether the rise of streaming platforms, changing audience habits, and soaring production costs have made ambitious theatrical releases increasingly risky. Nolan’s latest remarks suggest he rejects that narrative, arguing that believing epic filmmaking has reached its endpoint only limits the industry’s imagination.
For Nolan, the future of cinema is not defined by pessimism but by creative ambition. While The Odyssey may become one of the biggest cinematic events of its generation, the director insists it should inspire more filmmakers—not convince them that such achievements are no longer possible.
As excitement builds around the film, Nolan’s response serves as a reminder that great storytelling has continually reinvented itself across generations. If his vision proves correct, The Odyssey may not be the last of its kind at all—it could simply be the beginning of another chapter for epic filmmaking.
Entertainment
Comedy’s Biggest Stars Unite as New York Comedy Festival Unveils 2026 Lineup
Fans can expect a major showcase of humor and live performances as the New York Comedy Festival prepares for its next edition.
Comedy lovers in New York are preparing for a major week of laughter as the New York Comedy Festival returns with a star-studded lineup featuring some of the biggest voices in modern comedy.
The festival is set to feature performances from acclaimed comedians including Marc Maron, Ilana Glazer, Jordan Klepper, and Ms. Pat.
Running from November 6 to November 15, the festival will bring more than 200 comedians to venues across New York City, with over 100 shows planned throughout the event.
A Celebration of Comedy’s Biggest Voices
The New York Comedy Festival has become one of the most important comedy events in the United States, attracting established performers, rising talents, and fans from around the world.
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The festival was launched by Caroline Hirsch, the founder of the legendary Carolines on Broadway comedy club, which played a major role in shaping New York’s stand-up comedy scene.
Over the years, the festival has hosted some of the biggest names in entertainment, making it a key event for comedians looking to connect with audiences on one of the world’s most competitive comedy stages.
From Stand-Up Legends to New Generation Talent
This year’s lineup highlights the wide range of comedy styles that continue to attract audiences. From political satire and storytelling to personal experiences and observational humor, the festival aims to showcase the diversity of modern stand-up.

Jordan Klepper, known for his political comedy and work on The Daily Show, brings a unique perspective, while Marc Maron’s long-running podcast and stand-up career have made him one of comedy’s most recognizable voices.
Meanwhile, Ilana Glazer and Ms. Pat represent a new generation of performers who have expanded comedy beyond traditional stages through television, podcasts, and digital platforms.
New York Becomes the Comedy Capital Once Again
With hundreds of performers and shows spread across the city, the festival is expected to transform New York into a hub for comedy fans.
Organizers believe the event will once again highlight why the city remains one of the most influential places for comedians and entertainers.
As anticipation builds, fans are looking forward to a festival filled with unforgettable performances, surprise appearances, and the unique energy that has made New York comedy famous worldwide.
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