Niki: it is a curious choice by director Céline Sallette to hide what makes the journey of her biopic’s subject distinctive: the horrible trauma suffered by multi-hyphenated artist Niki de Saint Phalle is far from unique, but the way she dealt with it, namely her art, is. As such, the decision, for one reason or another, to show only glimpses of her work is mindboggling, and it weakens the experience as a whole; it is one thing to leave details out that only those knowledgeable with Niki’s story will recognize, but her art is far from a mere detail. The protagonist is played by Charlotte Le Bon, who manages to be enticing while still showcasing the character’s delicate mental state with her performance; John Robinson and Damien Bonnard play, respectively, her husband and another artist she befriends, and both performances are serviceable but unremarkable. Aesthetically, the film is fine; editor Clémence Diard is responsible for the most interesting aspect (alongside cinematographer Victor Seguin), the use of playful split screen at times (which thankfully is not abused).