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Cannes Film Festival: The Electric Kiss Review

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Like the run-down carnival in which it is set, Pierre Salvadori’s “The Electric Kiss” is a little clunky, kind of messy and oddly entertaining. You couldn’t say that it started the 2026 Cannes Film Festival with a bang on Tuesday night – the evening’s biggest star was Honorary Palme d’Or winner Peter Jackson, who got his award in a ceremony that preceded Salvadori’s film – but it was at least fun to watch a movie that veered uneasily but charmingly between melodrama, romp, tragedy and romantic comedy.

In a way, this is par for the course for Cannes, which in recent years has given its opening-night berth to a string of movies that delivered sporadic pleasures but were never among the highlights of those festivals: Amelie Bonnin’s curious “Leave One Day” last year, preceded by Quentin Dupieux’s goofy “The Second Act,” Maïwenn’s inert “Jeanne du Barry,” Michel Hazanavicius’ wacky “Final Cut” and Leos Carax’s wild musical “Annette.”

“The Electric Kiss” takes place in the Paris of 1928 and begins at a carnival where the sideshow barkers promise excitement and wonder, but the looks of drudgery on the faces of performers and customers suggest otherwise. A woman in a red cloak, Suzanne (Anaïs Demoustier), trudges through this picturesque and stylized landscape with a look that lands midway between desultory and defeated.

As “Venus Electrificata,” she’s one of the establishment’s star attractions, though she comes by that status not because of any particular skill, but because she’s pretty and willing to endure pain. She stands on a stage with her hands above a pair of orbs while a barker invites men to kiss her – and when somebody pays to do just that, a backstage switch is flipped and electricity surges into the orbs, jumps to her hands, travels through her body and gives the would-be suitor a shocking experience that the more dimwitted take to be love.

Suzanne, we learn later, was sold to this carnival by her family at the age of 15, and she endures a life of painfully burned hands for a pittance: When she gets her weekly pay, it amounts to less than nine francs after expenses. So it’s no surprise that she steals opium from the more lavish trailer where a purported psychic, Claudia, conducts séances, rubbing it on her hands as a painkiller and helping herself to a bit of Claudia’s food while she’s at it.

Before she can leave the trailer one night, she runs into a grieving artist, Antoine (Pio Marmaï), who offers her a substantial sum of money to contact his late wife, Irene. Suzanne fakes it, using tricks of the psychic trade that she picked up while lurking around Claudia’s trailer – and before long, she’s making house calls to Antoine’s place, where he’s been unable to paint since his wife and muse died a few years earlier.

The film is about layers of deception: Suzanne pretends to be Claudia and pretends to be a skilled medium, but it’s all a con supported by Antoine’s art dealer, Armand (Gilles Lellouche), who wants his star painter back at work and will pay Suzanne whatever it takes – 150 francs for a regular size painting, 200 for a big one — to get her to go along with the ruse. “Are there any scruples in that big body?” she asks him. “It is spacious,” he assures her.

“The Electric Kiss” is rooted in desperation, but it feels light, and at times melodramatic. But why shouldn’t it be? The characters themselves are acting, and as often as not overacting, as Suzanne slips creepy contact lenses in and out of her eyes without Antoine noticing, “faints” anytime it’s convenient and shouts, in the purported voice of Irene, “Live! And paint! Paint the world for me! Paint frescoes, and huge canvases!”

It’s a nice scam, with Suzanne aided by inside info supplied by Armand and later by Irene’s secret diary, which prompts a series of flashbacks that find the movie jumping between the story of Antoine and Irene and the story of Antoine and Suzanne-as-Claudia playing at being Irene. 

Salavadori (“Priceless,” “The Trouble With You”) hangs onto the light touch; at times, it feels as if he wants to go all the way and turn the movie into a comedy of misadventures, but he has more on his mind than that even as the plot gets a little meandering and the narrative drive slackens.

To the surprise of no one, Antoine and Suzanne develop feelings for one another, and of course that causes complications and accusations and a big mess from which the filmmaker finds a way to extract his characters. His solution may be silly, but somehow it makes sense in the world he’s created.

Part Gallic rom-com and part meditation on grief, “The Electric Kiss” slips and slides and provides a slight way to begin the film festival, but not an unpleasant one. As usual, Cannes kicked off with an appetizer; the main courses will follow.

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‘Final Payment’, ‘Congo Boy’ Win Top Awards At Pingyao Film Festival

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Chinese director Niu Niu’s Final Payment scooped the Best Film Award in the Fei Mu Awards of this year’s Pingyao International Film Festival (PYIFF), while Rafiki Fariala’s Congo Boy won Best Film in the festival’s Roberto Rossellini Awards.

Final Payment, which also won Best Actor for Niu Jianrong’s performance, revolves around a homeowner clashing with a contractor over the final payment following a set of renovations on his home. PYIFF’s competition jury stated: “Tearing through a very small rip, the film leads us into a reality and emotional landscape so expansive, where we sigh, lament, and reflect. The director’s approach is concise, unpretentious, and masterful, earning the wholehearted recognition of the entire jury.”

The Best Film award came with a cash prize of $150,000 (RMB1m) with half given to the director for the development of their next film, and half given to the distributor in China. Niu Niu previously directed Mr Junjun, which was awarded with the Jury Award and Youth Jury Award at PYIFF in 2023.

Also in the Fei Mu Awards, Xu Zao won Best Director for Light Pillar, while Best Actress went to Sun Yi for Wang Xiaozhen’s A Joke. The Jury Award was presented to Dong Jie’s Zoom In, Zoom Out, which had its world premiere in Venice Critics Week, while a special mention went to Cai Chengjie’s Suzhou Quartet.

The Fei Mu awards are focused on the festival’s Hidden Dragons section, which selects first, second and third films from emerging directors making Chinese-language films, while the Roberto Rossellini Awards focus on the Crouching Tigers section for emerging international directors.

Congo Boy, which took Best Film in the Roberto Rossellini Awards, also won Best Actor when it premiered in Un Certain Regard at this year’s Cannes film festival. The PYIFF award came with a cash prize of $20,000, with half given to the director for the development of their next film, and half given to the distributor in China.

The PYIFF jury stated: “The Jury unanimously has been moved by this autobiographical story, told in a simple style that echoes the great tradition of neorealism. For a film focusing on a character that confronts his world with optimism despite dark times and takes on his shoulders the destiny of his entire family.”

Also in this section, the Philippines’ Rafael Manuel won Best Director for Filipiñana, while the Jury Award went to Ben’imana, directed by Marie-Clémentine Dusabejambo, which won the Camera d’Or at this year’s Cannes. The jury also awarded Rakan Mayasi’s Yesterday The Eye Didn’t Sleep a Special Mention.

Hong Kong filmmaker Ann Hui received the Crouching Tiger Hidden Dragon East-West Award, shortly before she receives the Camellia Award at Busan International Film Festival next week.

Pingyao’s International Contribution To Chinese Cinema Award went to Marco Müller, who founded the festival with Chinese auteur Jia Zhangke and currently serves as Artistic Director of the Film Art Research Centre at Shanghai University, and veteran producer, director and former chairman of China Film Group Han Sanping. Hello Group chairman Tang Yan was presented with a 10th Anniversary Award.

This year’s PYIFF opened on September 24 with a screening of the 4K restoration of Fei Mu’s Spring In A Small Town; closed with Good Trip, co-directed by Hong Kong filmmakers Norris Wong and Hoi Wong, and also screened Jia’s short film Torino Shadow, which premiered at this year’s Cannes.

PINGYAO INTERNATIONAL FILM FESTIVAL 2026 AWARDS:

FEI MU AWARDS:

Best Film: Final Payment, dir: Niu Niu

Best Director: Xu Zao, Light Pillar

Best Actress: Sun Yi, A Joke, dir: Wang Xiaozhen

Best Actor: Niu Jianrong, Final Payment, dir: Niu Niu

Jury Award: Zoom In, Zoom Out, dir: Dong Jie

Special Mention: Suzhou Quartet, dir: Cai Chengjie

ROBERTO ROSSELLINI AWARDS:

Best Film: Congo Boy, dir: Rafiki Fariala

Best Director: Filipiñana, dir: Rafael Manuel

Jury Award: Ben’imana, dir: Marie-Clémentine Dusabejambo

Special Mention: Yesterday The Eye Didn’t Sleep, dir: Rakan Mayasi

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Chad Lowe and Kim Painter’s Daughter Fiona Dies at 13

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Actor Chad Lowe and producer Kim Painter’s 13-year-old daughter, Fiona, has died, according to a statement from the teen’s family.

“We are deeply heartbroken by the loss of our beloved Fiona,” the Lowe family said in a statement to media Tuesday evening. As the family went on, they remembered Fiona as “a loving young girl who was smart, creative, and loved to dance.”

“She was adored by her sisters and she was deeply loved by her parents,” the family’s statement added. “In fact, she was the light of our lives.”

While a cause of death was not immediately shared, the Lowes alluded to Fiona’s mental health struggles, writing, “Her passing is devastating for our entire family and we ask for prayers and privacy at this time. If you or someone you know is struggling with mental health, please reach out to the 988 Suicide & Crisis Lifeline by calling or texting 988.”

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Tom Cruise Dusts Off Risky Business Moves for Jennifer Hudson Show Spirit Tunnel

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Tom Cruise Dusts Off Risky Business Moves for Jennifer Hudson Show Spirit Tunnel







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