{"id":30754,"date":"2026-05-13T16:46:40","date_gmt":"2026-05-13T16:46:40","guid":{"rendered":"https:\/\/www.hic.pl\/?p=30754"},"modified":"2026-05-13T16:46:40","modified_gmt":"2026-05-13T16:46:40","slug":"cannes-2026-niezly-cyrk-na-otwarcie-recenzujemy-the-electric-kiss","status":"publish","type":"post","link":"https:\/\/www.hic.pl\/?p=30754","title":{"rendered":"CANNES 2026: Niez\u0142y cyrk na otwarcie! Recenzujemy “The Electric Kiss”"},"content":{"rendered":"
\"CANNES <\/picture><\/div>\n
\n

Ruszy\u0142a machina! Na otwarcie 79. Mi\u0119dzynarodowego Festiwalu Filmowego w Cannes<\/a> pokazano “The Electric Kiss<\/a>” (“La V\u00e9nus \u00e9lectrique<\/a>“) w re\u017cyserii Pierre’a Salvadoriego<\/a>. Jaka tonacj\u0119 dla reszty imprezy ustawi\u0142 film, w kt\u00f3rym wyst\u0105pili Pio Marma\u00ef<\/a>, Ana\u00efs Demoustier<\/a> i Gilles Lellouche<\/a>? Recenzuje Jan Tracz.<\/strong>
\u00a0 \u00a0 \u00a0\u00a0 <\/p>\n

Wielkie k\u0142amstewka (recenzja filmu “The Electric Kiss”, re\u017c. Pierre Salvadori)<\/h2>\n
\n

\"1326967.7.jpg\" <\/a><\/p>\n<\/div>\n

Film otwarcia tegorocznego festiwalu w Cannes zaczyna si\u0119 od sceny w paryskim cyrku na otwartym powietrzu. Kto\u015b pewnie powie, \u017ce to oczko puszczone do kinofil\u00f3w pami\u0119taj\u0105cych “Dziwol\u0105g\u00f3w<\/a>\u201d Toda Browninga<\/a> \u2013 no bo jak\u017ceby inaczej, mamy cyrk i kino w dialogu. Nic bardziej mylnego. Pary\u017c i cyrk z 1928 roku \u2013 bo to w\u0142a\u015bnie wtedy toczy si\u0119 akcja filmu \u2013 przypomina nam o zapomnianym klasyku “Zu-Zu<\/a>” z 1934 roku z Josephine Baker<\/a> w roli g\u0142\u00f3wnej.
\u00a0 \u00a0\u00a0
Tam tak\u017ce mieli\u015bmy cyrk z prawdziwego zdarzenia, pe\u0142en krzykliwych facet\u00f3w nagabuj\u0105cych przechodni\u00f3w, a tak\u017ce sztuk\u0119 id\u0105c\u0105 w parze z wszechobecnym podst\u0119pem (jak i talentem!). Do tego “The Electric Kiss<\/a>\u201d Pierre\u2019a Salvadoriego<\/a> bezpo\u015brednio wraca do Pary\u017ca z pocz\u0105tku poprzedniego stulecia. Do eleganckich uliczek, kt\u00f3re prowadz\u0105 do \u015bwi\u0105ty\u0144 kultury (muze\u00f3w i galerii sztuki); do wykwintnych knajpek, w kt\u00f3rej spotyka si\u0119 paryska \u015bmietanka; do zakurzonych, podziemnych bar\u00f3w, gdzie przesiaduje ca\u0142a reszta spo\u0142ecze\u0144stwa. Dostajemy Pary\u017c znany dzi\u015b widzom z poczt\u00f3wek i film\u00f3w z Josephine Baker<\/a>. Utracony Pary\u017c, do kt\u00f3rego swego czasu zapragn\u0105\u0142 wr\u00f3ci\u0107 Woody Allen<\/a>. <\/p>\n

(…) \u0141atwo sp\u0142yci\u0107 “The Electric Kiss<\/a>” uznaj\u0105c go za tani, kontrolowany kicz, w kt\u00f3rym p\u0142ytki romans zgrabnie \u0142\u0105czy si\u0119 ze wsp\u00f3\u0142czesnym francuskim humorem, w ostatnich latach rozpowszechnionym przez filmy z Christianem Clavierem<\/a>. Ale pod fasad\u0105 “kina dla twoich rodzic\u00f3w\u201d, wychowanych jeszcze na Louisie de Fun\u00e8sie<\/a>, kryje si\u0119 traktat o wielu twarzach mi\u0142o\u015bci. Przy okazji Salvadori<\/a> zadaje pytanie, czy k\u0142amstwo \u2013 tutaj co\u015b w rodzaju “bia\u0142ego k\u0142amstwa” \u2013 mo\u017ce zosta\u0107 wybaczone w imieniu wy\u017cszego dobra. <\/p>\n

Nie znam odpowiedzi na to pytanie. Ale sam film, niezale\u017cnie od swoich wszystkich wad oraz zalet, przypomina\u0142 mi o dzieci\u0119cej rado\u015bci z kina; pozwoli\u0142 zachwyci\u0107 si\u0119 niewymuszon\u0105 prostot\u0105, w kt\u00f3rej re\u017cyser (wraz z ufaj\u0105c\u0105 mu obsad\u0105) pragnie zrobi\u0107 co\u015b swojego, na w\u0142asnych zasadach. Wszak\u017ce Ir\u00e8ne m\u00f3wi w filmie, \u017ce “ceni artyst\u00f3w, kt\u00f3rzy nie chc\u0105 by\u0107 (w swojej sztuce) ostro\u017cni”. Trudno si\u0119 z ni\u0105 nie zgodzi\u0107.\u00a0 <\/p>\n

Ca\u0142\u0105 recenzj\u0119 autorstwa Jana Tracza przeczytacie TUTAJ<\/a>.<\/strong><\/i><\/p>\n

Na co jeszcze czekamy podczas tegorocznego festiwalu? TUTAJ<\/a> przeczytacie artyku\u0142 Macieja Satory, kt\u00f3ry dzieli si\u0119 swoimi nadziejami na t\u0119 edycj\u0119 Cannes.\u00a0<\/i><\/strong><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ruszy\u0142a machina! Na otwarcie 79. Mi\u0119dzynarodowego Festiwalu Filmowego w Cannes pokazano “The Electric Kiss” (“La V\u00e9nus \u00e9lectrique”) w re\u017cyserii Pierre’a Salvadoriego. Jaka tonacj\u0119 dla reszty imprezy ustawi\u0142 film, w kt\u00f3rym wyst\u0105pili Pio Marma\u00ef, Ana\u00efs Demoustier i Gilles Lellouche? Recenzuje Jan Tracz. \u00a0 \u00a0 \u00a0\u00a0 Wielkie k\u0142amstewka (recenzja filmu “The Electric Kiss”, re\u017c. Pierre Salvadori) Film<\/p>\n","protected":false},"author":2,"featured_media":30755,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[1],"tags":[],"class_list":["post-30754","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/posts\/30754","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hic.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=30754"}],"version-history":[{"count":0,"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/posts\/30754\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hic.pl\/index.php?rest_route=\/wp\/v2\/media\/30755"}],"wp:attachment":[{"href":"https:\/\/www.hic.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=30754"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hic.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=30754"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hic.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=30754"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}