Pierre Salvadori’s “The Electric Kiss” Opens the 2026 Cannes Film Festival

The Cannes Film Festival opened on 12 May 2026 with Pierre Salvadori’s period romantic comedy-drama *The Electric Kiss* (French title *La Vénus électrique*). The 122-minute film screened out of competition on the Croisette. Set in 1928 Paris, it follows Suzanne (Anaïs Demoustier), a carnival performer who pretends to be a medium to con grieving painter Antoine Balestro (Pio Marmaï). With dealer Armand (Gilles Lellouche) she maintains the ruse, while a genuine romance emerges.

Hollywood Reporter

Cannes traditionally opens with a French-language film that offers a light-hearted start to the eleven-day event (12 May – 23 May 2026). The ceremony also presented an honorary Palme d’Or to Peter Jackson, highlighting the festival’s blend of celebration and competition.

The Wrap

Salvadori co-wrote the script with Benjamin Charbit, Benoît Graffin, Rebecca Zlotowski and Robin Campillo. The cast features Anaïs Demoustier (Suzanne), Pio Marmaï (Antoine), Gilles Lellouche (Armand), Vimala Pons (Irene) and Gustave Kervern (Titus).

Hollywood Reporter

The film recreates a 1928 Parisian carnival on location in the Paris suburbs, alternating present-day cons with diary-based flashbacks. Playtime is the sales agent.

‘The Electric Kiss’ Cannes Review: A Pleasant, Old-Fashioned Romp That Runs Out of Steam

Deadline called the film “a charming and very French rom-com” that offers escapism. The Hollywood Reporter called it “bland, middle-brow entertainment” with “strained whimsy.” TheWrap labeled it “clunky, messy and oddly entertaining,” while IndieWire criticized an “overcrowded screenplay.” Micropsiacine found it “pleasant, good-natured” but said it “runs out of steam” after the first half.

IndieWire

Festival organizers described the opening as “a very French romantic comedy of loss, grief, deception and renewed love of life and art.” Producer Philippe Martin called it a “charming aperitif” for Cannes. Demoustier said the film is “a tribute to filmmaking, to actors’ performances and to fiction in general, to the lies that we tell to live our lives.” The opening was positioned as a crowd-pleasing escape from the darker titles slated for the rest of the festival.

Hollywood Reporter

• “It is not an idea or a metaphor; it is pure sensation!” — Barker, *The Electric Kiss*

The Guardian

• “Love is pain, love is ecstasy,” — Barker, *The Electric Kiss* (Gustave Kervern)

IndieWire

• “It’s a tribute to filmmaking, to actors’ performances and to fiction in general, to the lies that we tell to live our lives.” — Anaïs Demoustier, Actress

Hollywood Reporter

• “He’s a filmmaker who pays great attention to mise en scène.” — Anaïs Demoustier, Actress

Hollywood Reporter

Critics differ on tone: Deadline and Micropsiacine note a subtle, lushly romantic feel, while the Hollywood Reporter and IndieWire call the film middle-brow and overstuffed. Opinions also split on structure; some praise flashbacks, others say they drain the film’s lightness.

IndieWire

After the opener, the competition slate will feature new works by Cristian Mungiu, Hirokazu Kore-eda and Asghar Farhadi. The Palme d’Or ceremony is set for 21 May, and the closing night will showcase *Jeanne du Barry*.

Deadline Hollywood