Cannes 2026 - The Meltdown by Manuela Martelli

Set in the early '90s, The Meltdown follows a young girl, Inès (Maya O'Rourke), who is under the care of her grandparents, the owners of a ski resort in Chile, and largely left to her own devices. She strikes up a friendship with Hanna (Maia Rae Domagala), a visiting German teenager  only for the latter to mysteriously vanish. 

Cannes 2026 - Teenage Sex and Death at Camp Miasma by Jane Schoenbrun

In Teenage Sex and Death at Camp Miasma, an infamous horror franchise, Camp Miasma, is being revived and Kris (Hannah Einbinder) is the queer filmmaker tasked with bringing it back to life. Her journey leads her to seek out Billy Presley (Gillian Anderson), the mysterious, reclusive actress who played the original final girl.

Cannes 2026 - The Electric Kiss by Pierre Salvadori

The Cannes Film Festival seems to have struggled to find a good opening film after the highlight of Annette in 2021, with some decent but forgettable comedies, including Leave One Day last year whose presence felt incongruous. This year's opening film, The Electric Kiss seemed to be of the same variety yet thankfully it turned out to be a pleasant surprise.

In The Electric Kiss, famous painter Antoine (Pio Marmaï) has been left inconsolable and unable to paint since the death of his wife Irène (Vimala Pons). He encounters Suzanne (Anaïs Demoustier), known as the “Electric Venus,” a fairground attraction whose performance relies on giving audiences the brief illusion of love and through a misunderstanding he mistakes her for the fair's medium. Believing her to possess genuine spiritual gifts, he persuades her to help him communicate with his lost love. Suzanne, trapped in a life of poverty and exploitation, initially sees the arrangement as her opportunity to escape, an arrangement that Antoine's art dealer, Armand (Gilles Lellouche), is all too happy to facilitate.