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‘Little Amelie’ Review: Awards Buzz Awaits This Delightfully Dark Meditation On Life And Death From A Child’s Perspective – Annecy Festival
‘Little Amelie’ review: Awards buzz awaits this delightfully dark meditation on life and death from a child’s perspective – Annecy Festival
Instead, this animated feature from Maïlys Vallade and Liane-Cho Han is delightfully French in a different kind of way, perfect for sensitive adults and sophisticated children who dream of wearing rollnecks, shades and berets and sipping black coffee in tiny cups at Les Deux Magots while arguing with each other about whether or not Miles Davis went downhill after splitting up with Juliette Greco. Philosophically, it was one of les plus françoises films in the selection in Cannes this year, and that means a lot when the main competition is Richard Linklater’s Nouvelle Vague, which practically arrived on a bicycle, festooned with onions. That country also gave us Jacques Brel, and — much like that famously self-mythologising, existentialist balladeer — our heroine, Amélie, takes charge of her story right from her inception, recalling her curious birth and arrested infanthood, in which she was written off from the outset (“Your child is a vegetable,” a doctor tells her parents, as she watches impassively).
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