The concept of forbidden love will always be dramatically effective; some of the most elaborate theatrical creations ever devised use this trope. What makes Whisperings of the Moon, the Narrative Feature Grand Jury prize winner at this year’s Slamdance festival, such a unique example is the story’s painstaking groundedness.
Whisperings of the Moon is a love story about a theater actress who returns to her home country after her father’s death. Upon her return, she reunites with her old theater troupe, including her former lover. Throughout the film, the two reckon with lost time, how they have changed, and what has stayed the same. What grounds this movie is not just its story, but also the filmmaking itself, for better and for worse.
There is rarely a moment in the film where the camera is static. The director, co-writer, and cinematographer Yuqing Lai approaches the film as if she were an active participant in each scene. The shots are primarily handheld, zoomed in, and physically close to the actors. In many cases throughout the film, the shaking is distracting and draws attention to itself rather than being immersive.
For example, there is a fantastic sequence where the troubled protagonist Nisay (played beautifully by Sopheanith Thong) has a heated argument with her brother. It’s a well-written and well-acted scene that is muddled by meandering handheld camera angles. The shots in the scene move along their bodies, their hands, their clothes, and, only sometimes, their faces. Perhaps the intention is to feel the discomfort of watching something incriminating, something that should be behind closed doors, but that sentiment is not communicated clearly enough to qualify as intentional.
The use of shaky photography is not the only thing that was slightly alienating. Whisperings of the Moon is edited to alternate between the past and present, showing how the original love between Nisay and Thida (played with raw emotional power by Deka Nine) began and evolved over time. It takes a while to get used to what part of the film is happening at what time. As the film reaches its conclusion, a satisfying synthesis develops between the past and present and ends the film on an emotional high note. This is also where the two spellbinding performances by Nisay and Thida are fully on display. Without spoiling the narrative, the final seven or eight minutes realize the potential of its shooting style and emotionally charged time shifting.
The two performances from Thong and Nine make the movie shine brightest. Their chemistry is so palpable that even the most melodramatic moments feel real. The characters themselves are both complicated and, at times, stubborn people. Their flaws and the pursuit of the unconventional bring them together in a way that feels true and well observed. Even if the scripting itself feels exaggerated at times, Nisay and Thida always bring things down to Earth.
Lai had a clear, distinct vision for this film, differentiating it from other narrative titles at Slamdance this year. While not all of the elements fully come together, it is a strong first feature that combines melodrama and realism in a very engaging way. Sadly, though, this is also Lai’s first and last feature film. The young filmmaker passed away on Dec. 30, 2025, at the age of 23, after the film’s world premiere at the 30th Busan International Film Festival but before its North American premiere at Slamdance.
After this film, there is no doubt that Lai would have been an exciting new voice in world cinema. In this case, though, Whisperings of the Moon will serve as a reminder that even whispers can speak volumes.
Review Courtesy of Gabe Lillianthal
Feature Image Courtesy of Slamdance Film Festival