Abstract Quoting Truffaut's Jules and Jim, Amélie claims to be a new New Wave film. Instead, its calculated style returns to 1930s Poetic Realism and Under the Roofs of Paris. With spontaneity and complexity stripped from character and city alike, Amélie delivers merely a pleasurable fantasy of infantile satisfactions.
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© 2004 by The Regents of the University of California. All rights reserved.
2004
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