Cinematography in 'Amélie' (2001)

Watching influential films in terms of its cinematography enabled me to review different cinematic techniques and reflect upon how they worked as a narrative device and created a specific aesthetic. 

'Amélie' cinematographer: Bruno Delbonnel 
'Amélie' Director: Jean-Pierre Jeunet 

After watching 'Amélie', I was captivated by its striking, vivid and distinct visual style and pinpointed what caught my attention.

• The use of its warm colour palette, infused with reds, greens, yellows and occasionally blue. The original raw images were visually different to the edited versions used for the film, which had added warmth. The still shots below presented on the left side represent the raw and unedited version of the film, whereas the still shots on the right represent the colour graded versions. 

• Although telephoto lenses were used, the film predominantly shot using wide angle lenses from 14mm to 27mm, which was interesting as it created a distorted, comic and quirky look for the characters. The lenses also enhanced the stunning locations in the film, as it was captured in its entirety with a deep focus. 
• The push ins in 'Amélie' were particularly eminent through its frequent use in introducing various characters. Such camera movement worked to provide each individual character with a significant status and added a personal feel to the film, allowing audience members to gain insight into their thoughts and feelings. 

• Tilted shots/Dutch angles were also a common feature of the film, perhaps to indicate certain characters are unfulfilled and unstable. 

How my research informed the process:

• It is apparent that the creative decisions made for the film remained true to its genre: romantic comedy, however it also resembled fantastical and fairytale like elements through its exaggerated aspects. 
• It is clear that the choice of lens, lighting and camera settings impacted the film's light hearted tone and conformed somewhat to romantic comedy conventions. Therefore, for our drama 'Child Eyes', I will carefully consider all these aspects to create an emotive tone. 
• Additionally, like 'Amélie' (2001), I feel it would be appropriate to film in raw, so the editor (Rose) has the utmost creative control when colour grading to achieve specific effects.