Amélie lives in Montmarte, a quarter of Paris that seems like a world unto itself. She’s a waitress at a local bistro, shops at the local greengrocer’s and greets her neighbours as if she lived in a small town. Nothing special happens in her life except for her mother’s odd death, something Amélie’s father still takes very hard. Amélie would probably stay reconciled to her lonely lot in life if not for the fact that one day she finds a hidden cache in her apartment containing an old box full of a former tenant’s childhood keepsakes. She decides to return the long-lost articles to their rightful owner, and somehow realizes that she might also be able to help improve the world around her. Then one day she discovers someone collecting passport snaps discarded near a train station photo-booth, and Amélie falls in love. His name is Nino, but it takes a bit more time before she gets to know him, and a even longer for her to allow him into her private world. –Karoly Vary International Film Festival
Several years before he helmed the fourth Alien film, Jean-Pierre Jeunet, together with fellow French cinema wunderkind/creative partner Marc Caro, made his mark on international cinema with two of the most distinctive films of the 1990s. Collaborating throughout the 1980s on ads, music videos, and such shorts as Le Manège (1980), Jeunet and Caro honed their signature visual flair and darkly comic sensibility; Jeunet’s solo effort Foutaises (1989) won a César for Best Short Film. Bringing their unique style to feature films in the 1990s, Jeunet and Caro’s debut work Delicatessen (1991) became an international art film sensation. Hailed for its grotesquely comic and oddly touching tale of post-nuclear survival amid a group of eccentrics in an ominous, almost palpably clammy yet cartoon-like “retro future” setting, Delicatessen attracted an ardent following and earned several festival prizes and two Césars. Flush from Delicatessen’s success, Jeunet and Caro finally made a feature they… read more
A really happy piece of fantastic excistencialism. Beautiful art, great concept, nice romance. One of those movies that offers too much, in a little community, but never cease to impress.
I put off watching this movie for so long because I thought it was the French remake of the Australian classic "Razorback" about a giant wild hog that kills a bunch of people. Man, I was WAY off.
Simple enough in concept, Amélie, brims with originality, surprises, and some shocking black humor. The story is ostensibly straightforward. A young woman from Montmartre goes on a Samaritan spree… read review