While the Cannes Film Festival has a prestigious history, landing the opening night selection is an unenviable honour. History has marked this slot with nothing but mediocrity. The chosen film is most commonly a French dramedy that’s releasing in theatres the same weekend and will be forgotten following morning. This year, the title went to La Vénus électrique, or The Electric Kiss by Pierre Salvadori, a French romantic comedy about navigating grief, redemption, and love. While still forgettable, The Electric Kiss is endlessly charming nonetheless.
Suzanne (Anaïs Demoustier, The Count of Monte Cristo) is a penniless sideshow performer who pretends to be a clairvoyant for high paying artist Antoine (Pio Marmaï, Yannick). Antoine has spiralled into alcoholism since the death of his wife, Irine (Vilma Pons, Elle) and he believes Suzanne can communicate with Irine through intense hypnosis sessions. However, these appointments become increasingly intense and the payoff increases for both of them.
The premise opens a predictable avenue. Suzanne continues her fake seances with Antoine and he begins getting his life back together as he believes that he is talking with his dead wife. All the while, Suzanne fills her pockets with Antoine’s cash so she can get out of dodge. Eventually, their relationship becomes complicated as they learn more about each other, through either a close friend or a secret diary. Narratively, The Electric Kiss is nothing new, nor does it attempt to subvert expectations in any shape or form. However, a story told by the books can still be effortlessly charming.
From top to bottom, The Electric Kiss is a love letter to the arts. From our grief stricken painter to our con artist/fortune teller, this film puts its focus on the profound healing power of culture. Told through the lens of a man trying to climb out of alcoholism and a woman escaping slavery, The Electric Kiss reveals that there is more to these characters than meets the eye. Led by Marmaï, Demoustier, and Pons, with Gilles Lellouche as Antoine’s art dealer, it is hard not to be swept up by this film’s enchanting aura.
Sure, The Electric Kiss runs too long and is immediately forgettable in the great tradition of Cannes openers, but it is an entertaining romance that will sweep you off of your feet by being effortlessly delightful. In short, it’s a perfect opener for the Cannes Film Festival: it cleanses the pallets for deeper fare.
