Cannes 2026 opened with a film that promised to electrify audiences: *The Electric Kiss*, Pierre Salvadori’s latest romantic comedy set against the backdrop of France’s belle époque. With its blend of spiritualism, art, and farce, the film aimed to capture the magic of early 20th-century Paris—but did it deliver the spark? Our review explores why this whimsical period piece, starring Anaïs Demoustier and Pio Marmaï, left critics and audiences with more questions than answers.

Premiering in the competitive Cannes Film Festival lineup, *The Electric Kiss* follows the story of Suzanne (Demoustier), a young woman working in a traveling circus who poses as a spiritual medium to help a grieving artist (Marmaï) reconnect with his late lover. The twist? Suzanne’s services are secretly orchestrated by the artist’s agent, who believes the charade will reignite the painter’s creative spark. The film’s premise—rooted in the era’s fascination with séances, electricity, and the supernatural—promises a mix of romance, comedy, and artistic drama.

Yet, despite its elegant costumes, lush Parisian settings, and a talented cast, *The Electric Kiss* struggles to fully ignite. Critics have described it as a “gooey, glutinous confection”—a film with charm but lacking the depth or narrative punch to truly captivate. Comparisons to mid-period Woody Allen or Noël Coward’s *Blithe Spirit* are inevitable, but Salvadori’s take feels more like a moderate imitation than a bold reinvention. The film’s farcical elements, while playful, often strain under the weight of its own contrivances, leaving audiences with a sense of déjà vu rather than delight.

Why It Matters: As Cannes 2026 continues to showcase a mix of bold experimental films and crowd-pleasing comedies, *The Electric Kiss* serves as a reminder that even the most meticulously crafted period pieces require more than just visual spectacle to succeed. The film’s exploration of grief, art, and deception is timely, but its execution falls short of its ambitions. For fans of romantic comedies with a historical twist, this may not be the spark they’re looking for.

The Plot: A Farce with Too Many Wires

At its core, *The Electric Kiss* is a story about art, love, and the lengths people go to for inspiration. Suzanne, a young woman in a traveling circus, uses a Van de Graaff generator-like device to simulate séances, charging patrons with “electric kisses” for a fee. When she encounters a famous but creatively blocked painter, she agrees to help him communicate with his late lover—though her services are actually arranged by his agent, who hopes the ruse will jumpstart the artist’s career.

The film’s premise is undeniably clever, playing on the belle époque’s obsession with spiritualism and the burgeoning science of electricity. However, the execution stumbles in its attempt to balance romance, comedy, and drama. The farcical elements—such as the dead lover’s supposed messages—often feel forced, and the emotional stakes never fully materialize. Unlike *Blithe Spirit*, where the supernatural elements add genuine tension, *The Electric Kiss* relies too heavily on contrivance, leaving its romantic fantasy feeling hollow.

Comparisons to Other Films: Salvadori has drawn parallels to Cédric Klapisch’s *Colours of Time*, which also blended historical settings with emotional storytelling. However, *The Electric Kiss* lacks the heart and authenticity of Klapisch’s work, instead opting for a more superficial take on its themes. The result is a film that feels like a pastiche of earlier successes rather than a fresh voice in the genre.

Performances and Direction: Charm Without Depth

Anaïs Demoustier delivers a spirited performance as Suzanne, bringing energy and wit to her role as the fake medium. Pio Marmaï, as the grieving artist, provides a solid foundation, though his character’s emotional journey never fully resonates. The supporting cast, including the painter’s agent, adds to the film’s farcical tone, but their performances are ultimately overshadowed by the script’s limitations.

Salvadori’s direction is visually polished, with a keen eye for the aesthetics of the belle époque. The film’s sets and costumes are meticulously crafted, transporting viewers to a bygone era. However, the direction struggles to elevate the material beyond its surface-level charm. The pacing feels uneven, with moments of genuine humor and romance interrupted by awkward or underdeveloped scenes.

Visual Spectacle vs. Narrative Substance: While the film’s visuals are undeniably impressive, they cannot compensate for a script that lacks originality or emotional depth. The result is a movie that looks and sounds like a period comedy but fails to deliver the heart or humor that makes such films memorable.

The Belle Époque: A Glittering but Empty Stage

Set against the backdrop of late 19th-century Paris, *The Electric Kiss* draws heavily on the belle époque’s fascination with spiritualism, electricity, and the supernatural. This era, known for its artistic flourishing and scientific advancements, provided a rich setting for the film’s themes. However, the film’s portrayal of the period feels more like a costume drama than a deep dive into its cultural context.

The belle époque was a time of both innovation and superstition, with figures like Allan Kardec popularizing spiritualism and inventors like Nikola Tesla exploring the mysteries of electricity. *The Electric Kiss* touches on these themes but does little to explore their significance or impact on society. Instead, the film treats them as mere set dressing, missing an opportunity to add depth to its historical setting.

Historical Accuracy vs. Dramatic License: While the film takes liberties with historical accuracy—such as the prevalence of spiritualism among artists—it never fully commits to either the realism or the fantasy of its premise. This ambiguity leaves the story feeling ungrounded, as if it’s trying to have its cake and eat it too.

Cannes 2026: Where Does *The Electric Kiss* Fit In?

Cannes has long been a platform for films that blend art and commerce, and *The Electric Kiss* fits squarely into that tradition. As one of the first films to premiere at this year’s festival, it sets the tone for a season that will likely feature a mix of bold experimental films and crowd-pleasing comedies. While it may not be the standout of the festival, its presence highlights the industry’s ongoing fascination with period pieces and romantic comedies.

The film’s reception at Cannes will be telling. If critics and audiences respond positively to its visuals and performances, it may find a niche audience eager for a lighthearted, historically themed comedy. However, if the initial buzz fades, it could be seen as another example of a film that prioritized style over substance—a common pitfall in the world of mid-budget romantic comedies.

What to Expect Next: As Cannes 2026 continues, *The Electric Kiss* will likely receive further reviews and awards consideration. Its fate will depend on how well it resonates with both critics and general audiences. For now, it remains a curiosity—a film that looks and sounds like a classic but lacks the spark to truly light up the screen.

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