Fall 2024 | Watch with Purpose #4 : Amelie

[DanielCabang]

This shot is a clean single is shot from the pov of inside the hole she finds in the apartment. There's a slight blur so maybe an f stop of about f/2. This is all done so the audience's eye is currently fixated onto Amelie's face, but will soon turn our attention towards the box. There's also a frame within the frame created by the hole, further honing the audience's attention. The color in the scene is monochromatic, dying the shot with this dull yellow. Since both the outside and inside of the hole are dyed this color, the audience can make the connection that the box used to belong to someone outside. The music is ambient and empty, much like the cavity she finds and tells the audience that whatever she's found has not been touched for a very, very long time.

The shot is a clean single and from a low angle, looking up at her. It is also a cowboy shot. These are all done to show a form of power within Amelie. She's beginning to enact her plan in secret, and thus these choices paint her in a more powerful light for the audience to see. The lens seems standard at 200 mm and there's minimal blurring so a narrower aperture, about f/8. The audience needs to be able to clearly see her enact this, and so these choices make it simple for the audience to understand what she's going to do. The color is complementary, with the red text boldly against the washed out green. This can be taken literally, as Amelie taking a bold step forward. The music in this scene is of a rising tone and ambient noise, signalling a heightening of tension and characterizing Amelie's actions as not so virtuous.

The shot is a clean single and is a close up shot. There's minimal blur on her and the background meaning the aperture is narrow, at maybe f/8. The lens is long at maybe 135 mm. This is all done to highlight the two main points in the scene; The flyer and Amelie's reaction to it. The collapsing of the background allows for the flyer to get right up into the audience's view alongside Amelie's face and the close up lets the audience clearly view her expression. The music in this scene is the dulling of the sound of the train station. This can show Amelie's attention becoming tuned into the flyer and blurring everything else out and shows the audience it's a moment of tension for her.

This is a clean single shot and is from under his point of view, looking up at him. The shot is a medium close up shot and he is right in the middle of the frame. The background is blurred and he isn't so the aperture should be at around f/3. This is all done because the main point of the shot is the man's reaction to what he's looking at, and so the director made it so that even the background of his house fades out as his attention's being focused somewhere else. He's experiencing something he's not normally able to see, as he cannot leave his house, so his reaction to that experience is paramount. The sound in the scene is just the television programming playing on the cassette, allowing for the the audience and the man to simply soak in the audio they're viewing.

The shot is a clean single and is at about eye level with her. The shot is a medium close up shot. The background is relatively unblurred, so the aperture could be about f/11. She's right in the middle of the shot. This is all done to bring attention to both her and the background. She's feeling happiness in this shot, and that happiness comes from her husband, which is what she decorated her room after. This allows the audience to see her whole world light up. The music in the shot chops between the husband's words as she reads the notes, showing the audience that while these words were slapped together and the letter is a fake, it still makes her happy.

This is a double shot and is at around her eye level. The shot is a medium close up shot, and is at an f stop of around f/5.6. This is done to show that Amelie's getting caught up in her head about not being able to meet Nino. The audience can see that she's not completely distracting herself from the situation, as she's imagining Nino coming up from behind her. The odd imagination portion with Nino is also representative of Amelie's wild imagination as established earlier in the film, as it's leaking into the frame, taking up space in both her head and the frame. The sound in the scene is a mellow piano piece that almost sounds melancholic, representing her trying to distract herself but also unable to fight off the sadness she's feeling.

[Melanie]

Melanie Alvarado

Act I:

Shot #1:

• ( Shot Size - Medium CloseUp | Angle - EyeLevel | Framing - Dirty Single)
  The director chose for the shot to be Medium close-up so that we can see the hurt on Amelie's face and the revenge she is currently enacting. The shot size also allows the audience to see the action of her unplugging the cable and plugging it back to make her neighbor suffer from missing the ball game. The eyelevel angle was chosen so that the audience can relate to her and feel the anger she feels. The framing is a dirty single so we can have a decent view of her face but also a good view of her hand on the cord. This is to further emphasize her act of vengeance: unplugging the neighbor's cable for his TV and forcing him to miss the best parts of a soccer (football) game.
• ( Composition | Screen Direction | Motion )
  The director chose to make the composition balanced in where the viewer's eyes will be by placing Amelie on screen right and her action on screen left. He chose this to further articulate her emotion and how she is getting "revenge" on her neighbor. Since the screen is still, there is no screen direction. The director chose this because it was important to establish that Amelie will act if there is injustice, therefore the screen doesn't move off her or her action. The motion in the scene shows Amelie unplugging the Tv cable and plugging it back in. This action alone shows that she is clever and act in secret if she has been done wrong.
• ( Lens/FocalLength - 120mm | Aperture/F-stop/F-number - f/6 )
  The director chose to use an 120mm lens to make both Amelie's hand and her face about the same size because they are of equal importance. He wanted the audience to see the cause, her hurt and anger, and the effect, her revenge through tampering with the tv cable. The chosen f-stop, f/6, serves the purpose of opening up the depth of field so we can see her hand clearly along with her face while still leaving the background rather blurred so that the audience will not get distracted.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be out on the top of the neighbor's roof and this is because Amelie is disconnecting the cable from the roof. The lighting in the scene is motivated natural light coming from behind her to the right. Not much is seen of her costume in this shot, but she is wearing a knitted green sweater where knitted clothes symbolize the warmth of her childhood. The director chose for Amelie to have minimal makeup to elevate her natural youth. The director chose the color green to be a main color since it evokes a feeling of disgust or mischief which perfectly embodies Amelie in this moment. The director included diegetic sound from the game playing on the radio that Amelie plans on interrupting. There is also a non-diegetic sound effect that tells the audience that the connection to the Tv set had been interrupted.
• (Other) [Relevant Movement - Static]
  The director chose for camera to be static to make the audience see the cause and effect without distractions.

Act II:

Shot #2:

• ( Shot Size - Medium/Insert Shot | Angle - Overhead | Framing - Dirty Single)
  The director began the scene as a wide shot to show the environment and how Amelie relates to it. As he pushed in the camera, the size transitioned into a medium-full shot where we can more clearly see Amelie's face. Here, the director wanted the audience to see how entranced and fascinated she was with the album in her hand. The shot then transitioned to be more similar to a insert shot with an overhead angle that now has her face blocked. The director chose to use this overhead with a sort of insert shot so that the audience can see what had Amelie so enamored. The shot angle changes from a high angle to a low/eyelevel which is to give the audience time to see the surroundings and make a connection with Amelie. Then the eye-level angle changes to a high/overhead angle so that the viewer can see the fascination Amelie holds for the album which is revealed to have a collection of stranger's photos.
• ( Composition | Screen Direction | Motion )
  The director chose for Amelie to be the main subject in the scene that is not moving so that the audience's attention will be drawn to her. He also used the color of her skirt to bring eyes to her. The screen direction was chosen mainly to move from left to right and down to up for signaling the audience of the hard journey that is ahead. The motion on screen shows Amelie flipping through pages to show the audience that she is deeply engrossed in the contents of the album.
• ( Lens/FocalLength - 50mm | Aperture/F-stop/F-number - f/6 )
  The director chose to make the focal length 50mm to maintain a healthy balance between an establishing shot, for the environment, and an insert shot, for the album. He wanted the audience to be able to see the location, see Amelie's fascination, and see the object that has her interest all in one shot. He chose for the f-stop to be f/6 so that the viewer can follow Amelie since she is clearest in frame, then follow her line of sight to the picture album.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be open and outside a big building where he highlighted the main character at the top of the stairs towards the beginning of the movement. By the end of the movement most of the set is not visible except for the stairs, the bag the album was found in which belongs to Nino, and the Gnome that belongs to Amelie's father. The lighting is motivated and coming from both the sun shining on the overhead canopy making it glow green-ish and from the sun that isn't hitting the canopy. He chose this lighting to keep it well lit from all angles because he wanted viewers to spot Amelie from far away, to see her facial expression, and to see the album she is looking at. Amelie wears a green coat that blends in with the environment and a bright orange dress underneath. The director chose the coat because it symbolizes how she is shy and wishes to blend in to her environment, but he also chose a bright dress to symbolize how she wishes to be acknowledged yet hides away under her cloak. The environment is a blue-ish green color which feels old, stagnant and boring. While Amelie's dress is the opposite, a bright and vibrant orange symbolizing the new changes in her life and telling the audience to look at her. The sound chosen was in the form of happy non-diegetic music which symbolizes for the audience her awe and excitement as she looked through the album.
• (Other) [Relevant Movement - Boom/Push-In/Pan/Tilt]
  The director chose to start the shot with a Camera Boom moving down to establish the scene and show Amelie looking at the album. The shot then transitions to a push-in with a boom upwards towards Amelie so we can see her fascination with the mysterious album. As the camera comes beside her, it continues to boom upwards but also pans and tilts facing towards the album so the audience can see the photos inside. He chose these movements to build tension within the audience as they are left to wonder what has her enamored that lies inside the book, but then reveals it in the end when we peer over her shoulder.

Shot #3:

• ( Shot Size - CloseUp | Angle - Eyelevel/low | Framing - dirty two-shot)
  The director chose for this shot to end in a close-up to show Amelie's reaction to Mr. Dufayel saying that she has to take an opportunity when it comes. The size was initially Medium Close-Up, but changed to Close-Up when her reaction became relevant. This was important so we can feel how she is happy in the moment, then her thoughts shift to a plan of action to heed Dufayel's advice. The angle chosen is at eye-level/low. As she looks down, we can see eye-to-eye with her and see her thought process. At the same time, the angle is low to signify how her thought process compels her to act despite her shyness. The director made this a dirty two shot so we know who is more important in frame (Amelie). As she turns away, the shot begins to obscure Mr. Dufayel more which further tells the audience to look and connect with Amelie.
• ( Composition | Screen Direction | Motion )
  The director chose to place Amelie on the right and Mr. Dufayel on the left to show a balance and contrast between the characters. Mr. Dufayel is a man who cannot risk leaving his home without injury while Amelie can but is too shy to live her life to its extent. The composition also has Amelie as the largest in the scene because the director wanted the audience to understand that we should be looking at her since her feelings are important. Similarly, the director chose a slight screen direction from left to right so that the viewer's eyes can be directed towards her. The direction feels like reading an open book and in much of the same way, we are reading Amelie's emotions and thoughts. The most notable movement in the scene is Amelie turning away from Mr. Dufayel as she feels flustered discussing her crush on Nino.
• ( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/2 )
  The director chose to make the focal length 70mm to keep both subjects a reasonable size and give a clear impression on who is closer to the camera. The f-stop shifts from f/4, which shows both Amelie and Mr. Dufayel in clear view, into f/2, where Amelie is clearer than Mr. Dufayel. This rack focus signals to the audience that Amelie's reaction to his advice is important and tells them to feel her she confidence by the end of it.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be in Mr. Dufayel's apartment building where his paintings can be visible. This is meant to communicate to the viewers that Mr. Dufayel and Amelie are close enough for her to be visiting regularly and establishes Dufayel as a mentor or father figure to Amelie. The lighting appears motivated, coming from a lamp that is offscreen right and from a soft overhead light as evidenced by the shadows on Dufayel. The director wanted to keep the scene well lit so that both participants in the conversation can be seen, but while also showing more light change on Amelie to direct the eye to her when necessary. The costume of Amelie shows her in a red sweater and undershirt which the director chose to symbolize the love she feels for Nino as a secret admirer. The director chose for Mr. Dufayel to have browns and greens to make the audience sense that he is down to earth and attuned to the reality of what Amelie should do to pursue her passion. The makeup on both characters make them appear natural. Although Amelie also seems to be wearing lipstick of the same color as her costume, which would further symbolize the passion and love she feels for Nino. The sound of the shot is full of diegetic conversation but with little to no music. The director made this choice to hone in on the conversational energy and connection between the characters so much that the music is omitted because it would be a distraction.
• (Other) [Relevant Movement - Push In]
  The director chose to have the camera push in to shift the audience's focus from the overall conversation to Amelie's face. He wanted the audience to feel her giddiness as they speak but also the change in her thought process as she contemplates Dufayel's advice.

Shot #4:

• ( Shot Size - CloseUp/Medium | Angle - Low + Dutch Tilt | Framing - dirty, crowd shot/POV)
  The director chose for this to be a close up (or medium depending on who you look at) to emphasize the embarrassment of being directly laughed at as the object of ridicule. The Angle was chosen to be low to invoke feelings of being underpowered and humiliated. The dutch tilt adds to this by making everything feel askew due to the ridicule. The framing is a dirty crowd shot since some people are obscuring others. The framing is also a Point of View shot from Mr. Collignon's view. The director chose this to make the audience feel overwhelmed by the crowd suddenly turning against and laughing at Collignon.
• ( Composition | Screen Direction | Motion )
  The director chose to make the composition a bit off by making the orientation rolled slightly to the side. This was chosen to make the world feel wrong and against the audience since it is in the point of view of Collignon. There is no screen direction because the director wished for the audience to have a clear understanding and feeling of the public humiliation even if it seems exaggerated here. The only motion is from each crowd member as they laugh hysterically at Collignon after he has been insulted/made fun of.
• ( Lens/FocalLength - 40mm | Aperture/F-stop/F-number - f/4 )
  The director chose to make the focal length 40mm to make the audience feel that the crowd is surrounding Collignon. The f-stop, f/4, was chosen to keep the close members of the crowd clear, but to keep those further obscured. For example, Amelie is present looking from the back but blurred since Collignon's focus is on the crowd rather than her. This is supposed to invoke a feeling of Amelie being in control yet watching from a distance.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be mostly obscured by the crowd because he wanted the audience to feel like they're in Collignon's shoes. The only part of the environment seen is the white building in the back which appears tilted and makes the audience feel unsteady. The lighting in the shot is motivated and coming from the sun. There may be some unmotivated light in the background illuminating Amelie as she grins in the background and this would be to show the audience that she is the mastermind behind this outcome. The costuming in the scene shows many of the women in the crowd wearing coats with colors such as orange, red, green and brown. The coats tell the audience that the location must be somewhere colder or that the season is a cool one. The makeup on all of the character's seem natural, except some women have pinker lips which shows the use of lipstick. The main color in the scene is brown or beige, and this was chosen by the director to show the transparency/bluntness of each of the ladies as they laugh at Collignon. The director chose for most of the sound in the scene to be diegetic laughter from all Collignon's customers, but he also included a non-diegetic sound which has the sound of a cartoon explosion. The director chose this non-diegetic sound to symbolize the dramatic loss in power Collignon had and also to figuratively show his ego come crashing down.
• (Other) [Relevant Movement - static]
  The director chose to make this shot static so that the audience has time and understanding to feel uncomfortable by the amount of eyes and laughter hurled in the camera's direction.

Shot #5:

• ( Shot Size - Medium-Full | Angle - low angle | Framing - dirty single)
  The director chose to make the shot transition from a Full-shot to a Close-up shot (with the current image being a Medium-Full)to emphasize how as Mrs. Wells went from just reading the letter to feeling over it. The shot started with the intent to show how she related to her environment to showing more of her emotion over reading the letter. The Angle is low to emphasize the gravity of the letter and how much power it has to change her outlook on life. The audience is meant to look up at her and the letter with the feeling of knowing that her emotion over reading it is overwhelming. The director chose to start the shot with a dirty single to simply show the audience that she is beginning to read the letter. The director had the shot transition into a clean single to signal to the audience how much the letter means to Mrs. Wells and how much it influences her outlook on her life.
• ( Composition | Screen Direction | Motion )
  The director framed the composition to where the audience's eyes will be diverted to Mrs. Wells as she reads the heartfelt, fake letter. The screen direction raises from ground level to convey to the audience her spirit's being lifted like a large weight was removed from her shoulder's. Although it was a forged letter, it provided her with closure which is what the audience is supposed to take away from the scene. The motion of the scene shows Mrs. Wells sitting on her bed and shaking with tears of joy as we see the emotional weight leave her.
• ( Lens/FocalLength - 60mm | Aperture/F-stop/F-number - f/6 )
  The director chose a focal length of 60mm to make the shot resemble a conversation so the audience could feel a sense of interaction between her and the letter. The f-stop, f/6, was chosen to keep the depth of field wide enough for the push-in to take place.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be the inside of Mrs. Wells home. There are pictures of her deceased husband sitting around which tell the audience that she has not let go of him; there are many pictures on the wall showing that she is a sentimental person. The set itself feels homey yet a tad cluttered, which shows that she does not worry about many fine details. The lighting in the scene is motivated and streaming through either a window or lamp offscreen left. The light was placed on the left since most of her face shows on that side and it was important to allow the viewer to watch her expressions as hope flows into her heart. The director chose for Ms. Wells' costume to be a pale orange dress with a floral vest of similar colors. These colors represent the turning point of change in how she will view her husband and his death. She seems to be wearing some makeup on her lips since they seem pink-ish like her vest. The color of the back wall is a yellow/gold color to symbolize the rising happiness she is feeling at the mention that she was loved. The color of the bed, light blue, calls the audience attention to it which transfers onto Mrs. Wells since her outfit is the opposite color, orange, to symbolize change. The sound entirely consists of the meta-diegetic dialog of her husband as she reads the forged letter in his voice while believing the letter to be real. This tells the audience exactly what she thinks and how she feels reading the letter.
• (Other) [Relevant Movement - Push in]
  The director chose for this shot to push in because he wanted the audience to feel Mrs. Well's realization as we got closer and more connected to her. It was vital to the director that we see a visual representation of her heart opening back up and the love for her deceased husband finally feeling matched by his apparent love.

Act III:

Shot #6:

• ( Shot Size - Medium CloseUp/CloseUp | Angle - High Angle | Framing - Over The Shoulder (1+2 shot) )
  The director chose for the shot size to be Medium Close-up (Her) or CloseUp (Mr. Dufayel) to emphasize the connection between the two people. The audience feels a connection between Amelie and Mr. Dufayel like a father and daughter; Their relation ship is the intimate Father/Daughter relationship that Amelie never had with her biological father. The angle chosen is high, and that is because Amelie feels powerless and unable to act. The audience is meant to feel like she is small because that is the way she feels. Contrary, the TV is much higher which gives Mr. Dufayel some power in the scene as he imparts wisdom onto Amelie. The director chose to frame this in a Over-the-Shoulder frame to make it feel like there's a intimate conversation taking place, even though Mr. Dufayel is just a recording, it feels real to Amelie and that is what the audience is supposed to feel.
• ( Composition | Screen Direction | Motion )
  The director chose a composition that is balanced, with Amelie on right and Mr. Dufayel on the left, to establish a connection between the two. Dufayel's eyeline displayed on the TV sits higher than Amelie's, this is to show that he's in the driver seat, even if it is a recording, as he is about to impart wisdom upon Amelie. The Screen direction is from top to bottom which signals to the viewer that everything led up to this moment. The audience feels that whatever is on the TV, which is revealed to be Mr. Dufayel, it is what will drive Amelie's final decision. The motion on the camera shows Amelie walk cautiously into the room, sit down as she resigns herself to listen to the recording, and to play the recording before watching the screen intently.
• ( Lens/FocalLength - 80mm | Aperture/F-stop/F-number - f/6 )
  The director chose an 80mm lens to make the shot resemble a normal conversation to show how Amelie sees the interaction. The f-stop, f/6, was chosen to keep the depth of field wide enough for the audience to see both Mr. Dufayel's face on the TV and the direction Amelie is facing.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose for the set to be the inside of Amelie's apartment to further communicate how Amelie is hiding away. It was also for the audience to realize the great lengths Mr. Dufayel goes through to reach out to Amelie which highlights their friendship. The Lighting in the scene is motivated with some lighting coming from the window and other light coming from the candlelight on the TV stand. The intention was for the room to not be too bright so that the viewer's full attention will be on the TV with the recording. It is hard to see some of the costumes, but we can see that Dufayel is still wearing his brown coat and green shirt, which reinforces the idea that he is factual and wise. Amelie wears a green coat this time which signals to the audience that she is not feeling herself since she usually wears red or orange, where here she wears the opposite. The color of the room is a bright red symbolizing the love and passion she felt just moments before. Dufayel seems to be wearing no makeup and we cannot see Amelie's face well from this position. The only sounds heard in the scene are the diegetic sound of Amelie turning on the video tape and the diegetic sounds of Mr. Dufayel's voice from the tape. The director chose to do this so that the audience can feel the same curiosity and tension that Amelie feels. And with no background music, the audience is able to find the importance of the tape and to listen in without any distractions.
• (Other) [Frame within frame/Shape within Frame | Relevant Movement - Boom & tilt]
  Dafuyel appears in a Frame because the director was expressing to the audience how he is trapped and unable to continue living his life out in the world. The director chose a boom and tilt movement because he wanted the audience to follow Amelie's motions as she sat down and looked up at the screen. He chose this shot because it makes the audience feel like they are in the room with her, watching with curiosity at the edge of their seats.

Shot #7:

• ( Shot Size - Medium CloseUp | Angle - Overhead | Framing - Dirty Single)
  The director chose this size so we can see the emotion of Amelie as she finally has someone with her she is happy with. The Medium Close-up allows the audience to feel the connection and eventual love between Amelie and Nino as they embrace. The director chose the Overhead Angle so we can see straight on Amelie and Nino as they lay horizontally in bed together. The angle communicates the vulnerability they share together and tells the viewers that they feel love for each other. The framing chosen was a dirty single (since Nino's face isn't in view). This was the director's choice because he wanted to convey how Amelie feels content and loved with Nino. The shot was chosen to be dirty because the director wanted Nino to block some of the view of Amelie. This is for the audience to feel the intimacy and connection between the two characters, and to also emphasize how Amelie feels complete with Nino by her side.
• ( Composition | Screen Direction | Motion )
  In the composition of this shot, the director chose to direct the audience to Amelie who is at the middle of the screen. This was important so that the viewer's can see the happiness in her face and so they can feel satisfied with her being happy. The screen moves from the bottom right towards the top left diagonally to show that the hardest journey of Amelie's present has been completed and that she has obtained her goal. The motion on screen shows Amelie lean into Nino and embrace him more tightly. This signals to the audience that she never wants to let go of him, figuratively and literally, and that she loves him dearly.
• ( Lens/FocalLength - 70mm | Aperture/F-stop/F-number - f/6 )
  The director chose a 70mm focal length to show the connection between Amelie and Nino. These lens make it feel natural to have a conversation, but the couple lays in a silent embrace which communicates volumes. The chosen f-stop, f/6, keeps the depth of field to a reasonable size allowing each character to be clear in view.
• ( Mise en Scene: Set, Lighting, Costume, Makeup, Color, Sound )
  The director chose to imply that this scene takes place in Amelie's apartment. The audience knows this because of the amount of red and white on the bed, and the last place they were seen in the film. The lighting is motivated and comes from lamps on both off-screen left and right which are presumably on nightstands. The director chose to not have costumes to imply that something passionate took place and that it appears to have brought them closer together. Amelie seemingly wears very little makeup, but she appears to have red lips like passion. The predominant color in the scene is beige and white, which is to communicate the forming of a new relationship like a marriage. The accent color in the scene is red, which was chosen to convey the feelings of passion and love the two feel for each other. The non-diegetic music communicates to the audience that the goal has been reached and all there is left to do is relax.
• (Other) [Relevant Movement - Boom]
  The director chose to use a Camera Boom so that the camera can glide over both character's as they lay in bed. He wanted to show the vulnerability and closeness that the two now share as we look down at them.

[ruthpliego]

ruth pliego

1- This shot is an insert shot of Amelie's teddy bear in a flower bed. The shot is likely a 50-60mm focal distance as there is no distortion or flattening of any kind, with a deep focus on everything in the frame caused by a medium to large aperture size. This shot alone depicts a multitude of symbolism, first we have the decaying of the teddy bear being a contrast to the flowers and the bird alike. The teddy bear on its own could represent a tangible piece of Amelie's childhood, and that while time passes and things change, memories and feelings remain. There is also this nice blending of colors happening throughout the frame, the red on the flowers being a complementary color to the green grass surrounding it, the bear almost blending in with the dirt and brick behind it, with the flowerbed breaking apart the world happening in the flowerbed and outside.

2- This double shot, eye level, with a 50mm focal length and a lower number as its f-stop, with lots of vertical screen direction This is a pretty important moment in this scene. Raymond, the Glass Man, is willingly inviting Amelie to take a peek into his world, and she looks on in amazement. There is also this interesting thing happening with the colors, this shot places the yellow filter and green tones as blends to each other, one is not more overpowering than he other, or taking up more of the frame. In Amelie, when the colors red, yellow, green, and rarely, blue, are used is really important. In this shot composed of mostly yellow and green, the yellow may be use to describe a warmth and safety round Raymond, and the green allows us to look into his world as something a little bit more surreal and fairytale-like.

3- This shot follows a closeup of Amelie, stepping away and turning it into a single shot, slight frame within frame low angle with 50mm focal distance and medium f-stop, is a way to indicate introspective. The yellow filter in this case may be used to show nostalgia or familiarity. There is also a heavy use of reds and squares. Amelie has crafter her unique world that is structured and sound and yet one she loves. Amelie fits perfectly into said world, her red outfit harmonizes with the rest of the background. Even though there are fun elements in this scene, like the clutter of mugs, the playful wool of Amelie's sweater, the checkerboard patter all over; everything is still proper and structured. Placing Amelie between the corner of the room and opposing wall, shows how isolated and withdrawn Amelie became from the "outside."

4- This overhead shot, 45-50 mm focal distance, medium to low f-stop (as there is a slight blur to the background), and a screen composition of diagonal lines. Maybe frame within frame, maybe crowd shot. Once again, we have the use of the green tint to imply surrealism, a look into somebody else's world. The diagonal lines from the steps feel like they intend the continue pushing the book pages, and keep reminding the viewer to move around said pages.

5- The shot of the woman working the sex shop, is an eye level, medium closeup, low f-stop, and 50mm focal length due to a lack of distortion. I find it fun that the sex shop is color coded as red, we see it a lot in the background when throughout the movie I felt it was being used to signify love. Sex can be absolutly be love, yes, but not always and can be a different type of love. I just find it nice how heavily it is used in this set. As we see the pictures Nino used to take, they are shown again in a yellowish-green color scheme. Yellow in this case can be used to imply time passing, happiness, and fondness. As in the previous two cases, green is definitely getting used as a fantasy-like feeling.

6- This insert shot of Amelie in her zorro costume is likely shot with a 75-80 mm focal length in order to get all of that detail, with a medium f-stop number as nothing is blurred out. This frame has a more subtle yellow tone over it, makeing it look more worn and old-timey. I think in many ways this show's Amelie's attention to detail, she knows this is how to get Nino's attention and she plays into it by putting in effort to carefully "destroy" her clue. I think it is also interested that she is torn into careful fragments, and Nino is the one putting her back together. I do not think this is to say that Nino is fixing her, but rather connecting with all of her pieces throughout her journey.

7- For my last shot, I chose a single, high angle shot, with a medium closeup, 50mm focal length, medium to high aperture distance. I thought this was such a beautiful scene, the colors and softness of the lighting literally envelope you in softness, and tenderness. I look at this and feel a sense of comport and peace, it's beautiful. The colors imply a sense of warmth, love and serenity. Amelie isn't isolated anymore, there is no green tint around Nino and his world as she is living in it, she is a part of one of her many fairytales. The look she gives shows that she is truly content in the companionship that she gained. They way they hold each other lets you know how safe and comfortable they feel with each other.

[adgarza8]

Adrian Garza


Insert shot, high angle. long lens 200mm This is a still shot that breaks the scene a bit so that the next shot can set onto what will be a crash. The reason the director included this specific shot was to have a really specific emphasis on the camera so that we remember that it's a key point in the story that will be important later on.



Wide shot, High angle, clean single, wide lens 20mm. This feels like an wide insert shot that while it not only displays the character interacting with the object, but how they approach and interact with the environment. This could have been done with a much different angle but choosing this high angle adds a weird dynamic to the shot that gives the feeling of uneasiness.





Medium shot, low angle, clean double shot,30 mm. the lighting in the shot helps give a contrast between the characters and the director wanted us to feel a disconnect within the characters.



Wide shot, high angle, clean single, 30mm, dutch tilt. This awkward placement within the room along with the addition to the tilt encourages a feeling of worry and being uncomfortable. The shot that follows this one is also a very dynamic shot which keeps escalating our emotions and continues to make us feel uneasy.


insert/close up shot, low angle, clean single, 20mm. Having the small doorknob take up half of the screen while the other half is just the characters head creates a connection the director wanted us to feel that is that nothing is important aside from how the character is feeling and what would be behind the door. the lighting is also sufficient to where we can read everything that is happening yet we still know that this scene is taking place in a darker setting with interesting contrast that just continue to add to the negative feelings

[nick_fite]

Act I



In this shot we are being introduced to Amelie. We learn about some of the small pleasures that she has, and then we get this shot. It's a low single mid shot. The foreground is blurred, but the background is very clear. The lens is likely a wide angle lens. So it has a focal length of around 35mm and an f-stop of around 4. The shot trucks from right to left, and ends with this framing. Amelie is right in the center of the shot, and there’s a frame within a frame. It shows how Amelie is trapped. She does all these small things because she is a failure when it comes to interacting with people. The color of this shot further emphasizes it. Within the square, it’s yellow. Outside of it, it’s red. Both of the colors contrast quite a bit with each other, so it shows the distinction between Amelie’s world and the real world.


Act II: Shot 1



This shot is a low angle wide crowd shot. This shot is using a wide angle lens, and doesn’t have a lot of blur in the background. The lens is likely using a 35mm lens and an f-stop around 20. The camera doesn’t move, but the character moves from screen left to the stand. Amelie is on the rule of thirds, and is clearly the item of focus in the scene, along with the stand. The environment of this scene is the most interesting. All the posters on the stand and the magazines in it talk about the death of princess Diane, the catalyst for all the events to follow. The lady inside the stand is surrounded by that, and is the next person Amelie is using to change someone's life.

Shot 2



This shot is a low angle close up single. There’s quite a bit of movement in this shot. The camera trucks from left to right, and Amelie moves along with it. It frames her on screen left, moves her to the right, and then finally ends on the right side. When the key is shown it’s in the center of the screen. The entire time it follows the rule of thirds, putting Amelie either on the left third or the right third. There is quite a bit of blur in the background and the shot is very close up. The lens is around 200m with an f-stop around 5. The most interesting choice is to have the key glow. In the shots prior we see her go to the keysmith and then return the key to the door that she found it in. It was implied that’s what she did, but by showing the key we know for a fact that’s what she did. It clarifies what was somewhat ambiguous, although it might be a bit gratuitous.

Shot 3



This shot is a low angle double wide shot. This shot is stationary, and is used to set up the conversation between the 2 characters. Everything in the shot is pretty clear, so the f-stop must be pretty high. It’s likely a 35mm lens and an f-stop around 16. The rule of thirds is in full effect, Amelie is on the left third while her father is on the right. The father is also leaning forward, and his head seems to line up exactly on the rule of thirds. Interestingly, Amelie is not put on the left. Since she’s on the right it seems like she’s going to be quite confrontational, and she is in the conversation. Not by directly attacking him, but by taking advantage of his negligence. The colors that we saw in the first show are showing up again. Amelie is draped in yellow, while the father is covered in red. However, here, Amelie is not the distinctive one in the scene, the dad is. By using the same colors it implies that the father is the outsider here, and given his character arc it’s quite fitting. He needed to go and see the world, and these colors show that. The framing shows that he is the main subject of the scene.

Shot 4



This shot goes from a medium high angle single to a medium low angle single. The shot does move, it trucks from left to right right and cranes down. The camera also tilts up more as it moves. The entire time the character in the scene is in full view. There is a bit of blur in the background, and it seems the shot is quite claustrophobic. The lens has a focal length around 50mm, and an f-stop around 16. The character is in the center of the shot, and the door knob is on the rule of thirds. Additionally there is a dutch tilt. It shows what our character is focusing on and that he can tell something is out of place. The door knob is also white, which helps signal focus towards it in the scene.


Act III: Shot 1



This is a high angle dirty single medium close up. Because we’re looking at both of their backs, it is hard to tell who we’re supposed to be focused on, so you could also argue that it is a double shot. However, because of the positioning of the characters, with the man in a more full view, and with Amelie being softened by the f-stop it seems to be a single. Due to that softening and the close nature of the shot, it’s likely that the lens is around 200mm and an f-stop of around 11. The man is in the center of the frame, and Amelie is on the right third of it. There is no camera movement or character movement. There is a reflection in the glass, where we can see Amelie is making it seem as if she’s working, but it’s not the focus. The colors are showing up again. Amelie's top is primarily yellow with red dots. Like she’s starting to show who she truly is. The man is wearing black, but it looks almost green. This shot is meant to show how Amelie wants to talk to him, but is nervous to and can’t get herself to even though she went through all this trouble to get him here. It’s successful in that.

Shot 2



This is a wide low angle crowd shot. While we are mostly focused on the shoes of Amelie and the man at the trash can, we don’t see their faces. The background is quite soft. The lens is around 30mm and has an f-stop around 11. The camera trucks with Amelie's shoes. The most interesting thing about this shot is the framing. The man is on the left, Amelie is on the right, and in the center we can see that car that’s about to stop them from meeting each other. We’re given this hint before we see it cut her off. The colors are also interesting, because they're both wearing black. They’re finally ready to meet.

[Aaliyah Mickle]

Aaliyah Mickle




1. This shot is a close shot of Amélie’s face as she peers through the hole behind the bathroom tile. This clean single emphasizes her facial expressions not leaving room for anyone else, her shoulders, or even a complete view of her hands. This tells us as the audience to focus on her expressions in this moment of discovery. The camera is positioned at a slightly high angle in regard to Amelie as we can actually look down at this side of her face. This gives the viewer almost a faux POV shot of what Amelie looks like from this hidden space. This draws the attention down to Amelie’s expression, but it also places another point of interest in our foreground. The framing here creates a frame-within-a-frame, where the hole in the wall acts as a boundary around Amélie’s eye and face. This choice emphasizes her role as an outside observer and hints at the idea of looking into hidden parts of life and people. Amélie’s face is not actually perfectly centered in the frame. Her eyes align with the rule of thirds line, which draws the viewer’s eye to her gaze. Her expression exudes a mix of curiosity and amusement. This closer shot creates intimacy and directs attention to her subtle emotions. Lenses: The focal length is around 35mm with an f-stop at f6, creating a moderate depth of field that keeps Amélie’s face in sharp focus while subtly softening the background and foreground. This emphasizes her presence and expression while suggesting the idea of peering into a small, enclosed space. The choice of the bathroom and the use of tiles create a whimsical vibe to match the overall theme of the film’s visuals. The only light source is coming from the bathroom, essentially creating a spotlight pointing at the tin box. The news anchor drones on in the background about Princess Diane’s death. But as Amelie retrieves the box, it fades until you can barely hear it. Much like Amelie, the closer we get to getting into the tin, the further away we get from the importance of whatever the TV is showing. This shot evokes a sense of curiosity, playfulness, and slight voyeurism. The audience feels drawn into Amélie’s inner world, resonating with her sense of discovery and desire to observe without being seen.




2. This shot is a medium shot of Amélie as she sits in front of the television. The tears roll down her cheeks highlighted by the many different lights in her apartment. This clean single isolates her within the frame, emphasizing her emotional vulnerability and detachment from the outside world. The camera is positioned at eye level, creating a direct connection between Amélie and the audience without breaking the fourth wall or anything crazy. We are drawn into her grief and introspection, feeling the rawness of her solitude as she cries. Here she follows the rule of thirds, with her eyes resting on the line of the upper third of the frame further directing the audience’s gaze. The shot captures just enough of her surroundings to reinforce her isolation without distraction. To her right, the blue lamp symbolizes loneliness and introspection (as blue does in multiple moments throughout the film), reinforcing Amélie's deep-seated yearning for connection. The lamp, and more importantly the blue, becomes a focal point through contrast. The blunt break in the red and green complementary palette shoved down our throats the whole time informs us about how Amelie’s emotions and thoughts stand out in moments like this. We are being clued in by the addition of the blue color. There is also this incorporation of meta-diegetic sound design here. The TV is playing aloud in this world, but what the announcer is saying is altered to the reimagining of Amelie’s imagination. The hum of the TV is present, but it feels distant when we cut to this shot of Amelie as it is overtaken by Amélie’s tears. This was shot with a focal length of 35 mm as we can see no warping or collapsing of Amelie’s image; we can observe her as she truly is in this state. We have an f-stop at around f-10 to neutralize the depth of field. Nothing is more in focus than anything else giving this feeling of insignificance to Amelie as she retreats into her fantasy scenario.




3. This shot is a wide crowd shot technically, with focus on Amélie sitting alone on the stairs of a train station. She’s positioned in the right third of the frame, drawing our attention to her isolation in proportion to the rest of the composition. The camera is positioned at a low angle, allowing us to observe her as our subject. Breaking free from the focus of other people’s lives, we start to focus on Amelie differently. This journey for her is about living her own life instead of retreating to the comfort of the observer role. Here with Nino’s album, we see a curiosity and wonder that belongs to just Amelie. Unburdened momentarily by the lives of everyone else, she flips through the album in a solitude of her own curious enjoyment, not her usual forced isolation. The composition here emphasizes Amélie's smallness still within metro space. Framed within these metal pillars of the station, she is encased in a frame-within-a-frame, which heightens her sense of introspection. Amélie's red dress and red gnome contrast sharply with the muted green and gray palette of the scene. This color conveys her indifference and individuality, in moments of comfort (we see this exact same use of color when she skips stones alone in the red dress). The splash of red symbolizes these moments where Amelie takes the time to focus on herself and her wants. The fluorescent lights overhead cast a dim, almost sickly greenish glow, bathing the environment in an unnatural hue in contrast. This green light complements the rusty tones of the station and juxtaposes Amélie’s warm presence. To her left, people continue to pass back and forth. The indifference of everyone underlines how unimportant they are when Amelie’s close eye isn’t directing the audience to them. Shot with a focal length around 35mm, the shot maintains natural perspective without distortion, grounding us in Amélie’s reality. The depth of field here is relatively deep, keeping both Amélie and her surroundings in focus at an f-stop of f10. This choice emphasizes her introspective, contemplative state within the bustling city, subtly communicating her separation from the world around her. The non-diegetic sound here highlights the whimsy of her curiosity as she flips through Nino’s album.




4. This shot is a close clean single shot of Amelie. She’s slightly offset in frame with her eyes positioned in the upper third of the frame. It feels as though we are the ones in close with her having this conversation. The camera is positioned at a low angle with a slight Dutch tilt. This shot isn’t a POV shot but it does replicate the feeling this conversation must have for Joseph. It is an intimate whisper, so we are at a close shot. Amelie, who he doesn’t usually interact with, is feeding him this out of nowhere rumor that Georgette is into him. The tilt here represents this confusion as Amelie plants the seed. Amélie's green shirt blends into the muted greens, yellows, and browns of the background. For this scene it’s perfect. She blends in as she listens to Suzanne’s love recipe. She needs to blend in this moment so as not to arouse any suspicion from Joseph as she tries to lie about Georgette's affection. Right now, she’s the observer, or a behind-the-scenes-orchestrator who needs to divert attention to get what she wants, not attract it. Green has come to represent the whole outside of her own, and when she enters it in her efforts to help others, she basically goes incognito mode. Shot with a focal length around 25mm, the shot slightly changes the proportions of Amelie’s face (especially her forehead), as she comes in close enough for a whisper. The depth of field here is shallow, blurring everything but her in this conversation at an f-stop of f3. This choice emphasizes the feigned secrecy of this rumor she’s made up. Like she’s saying to Joseph, “Listen in close, I have an important secret to reveal.”





5. This shot is a medium close-up clean single of Amélie dressed as Zorro, her arm extended, brandishing a sword. The cowboy shot is typical for displaying weapons, which we need here to push the Zorro reference. Shot at a lower angle, the shot captures her intensity, exudes confidence and determination, and embodies her playful dive into fantasy. It also gives us insight into Amelie’s mind as we break style here through color, costume, and even music. She feels like she has just served up some justice. In her desire to help others, the payback for Lucien here isn’t necessarily helping like her other plans, but it is hero work to her, nonetheless. The composition draws attention to her face and the outstretched sword, which dominates the lower third of the frame, creating a diagonal that adds dynamic tension. Amélie’s mask and costume emphasize her role as a mysterious avenger of justice in her own world, expressing a side of herself that craves adventure and escape from the mundane. The plain environment contrasts sharply with her dramatic costume, adding to the humor of this shot she juxtaposes reality and fantasy. The shallow depth of field, with a lower f-stop of f4 and focal length at 40mm, isolates Amélie in sharp focus while blurring the background and foreground slightly, placing emphasis on her performance. This isolation within the frame conveys her personal escape into imagination, drawing us into her world where even ordinary surroundings become her stage. The sword thrusting toward the camera serves as a visual “frame within a frame,” enhancing the sense of confinement within her daydream while also symbolizing her boundary-breaking personality. The transition to the Zorro-esque non-diegetic tune is another layer of quick and witty contrast that only adds to the humor of the cut.




6. This is a full clean single shot focusing in on Raphael, Amelie’s dad, after receiving the late post card from the gnome. He’s perfectly centered in the frame which does not really create any particular area of interest. This is shot from a lower angle, but it shows the full body of the character. Although we are looking up at the character, he is made small by the surrounding environment and made less significant by his own surroundings. Overall, it all just reads as plain. From the composition to the sound, to the colors, etc. After we learn about the death of Amelie’s mother and Amelie herself moves out, the colors in his house go mute. Even when we see him here by himself, the life of Raphael Poulain is muted. The lighting is this very even and diffused light that again doesn’t really highlight anything of great importance, not even Mr. Poulain. This is what Amelie is trying to resolve, using the bright red gnome to bring back some adventure to her lonesome dad. Where Amelie retreats into the color and imagination of her own creating, her dad isolates into the void of nothingness. That is a bit of an extrapolation as we still see some elements of the home being lived in and some slight clutter, but it’s nowhere near the liveliness of the Two Mills, Amelie’s apartment, or even the photobooths. Shot with a focal length around 25mm, the shot slightly changes the proportions of the room to have a slight wrap around the edges enclosing Raphael. The depth of field here is deeper, only slightly blurring the background and foreground elements around the edges of the frame. This is accomplished with an f-stop of around f8.




7. This medium shot captures Hipolito as he faces a wall adorned with his own words written in red. I wouldn’t even consider this a dirty single as we don’t even see his face in this moment. The shot positions Hipolito from behind, revealing only the back of his head and his brown suit. This informs us that while we shouldn’t ignore him entirely (he is important for this context after all) what the audience should be focusing on for now is the big red message on the wall. The camera angle is only slightly above eye level, establishing a subtle yet intimate connection, as if we are looking just over his shoulder, momentarily absorbed in his contemplation and pride over seeing his words immortalized. The composition is well balanced; Hipolito’s figure sits on the left third of the frame, while the quote occupies the right, uniting the shot with the rule of thirds. Framing the quote this way in the frame makes it as important if not more than the character, which is how it follows Amelie in her own story too. Who said it is inconsequential when compared to what he said. The subdued palette, dominated by a warm yellow tone, creates a nostalgic, dreamlike atmosphere that amplifies the impact of his introspective reflection. The lighting here is soft and diffused, illuminating the wall and his back in a way that feels almost reverent, highlighting the personal significance of this moment. Amelie is not lost in this frame, the red being a call back to her part in helping even a more minor character such as Hipolito. The neutral depth of field, indicated by a moderate f-stop around f7, very subtly blurs the background, keeping our focus solely on Hipolito but allowing us to clearly see the text of the poetic quote.

[fellowghoul]

Trinity Torres


1. This shot is a close up, at eye level, and is a crowd shot due to there being multiple faces in view of the camera.
2. The shot is purposely framed to have Amelie's face dead center, and very close to focus on her expression. But still being able to see other people but keeping them blurry and out of focus tells the viewer's brain that who those people are or what they are doing is not important to the story. It is just so you know they exist there.
3. A longer focal length, as well as low F-Stop number achieves the blurry background, while keeping Amelie's face clear.
4. There are very bland color tones like greens and browns that blend in well with the background to give off a non classy, casual vibe. You wouldn't want anything too flashy in the middle of a theater because it would stand out in the dark. I also think that they often put Amelie's face in the center of the camera view instead of following rule of thirds because she's a little odd and the movie has a certain pattern that it needs to stick to to maintain consistency.

1. This is a medium shot from a high bird's eye view angle, and it's a clean single. It is also a dutch angle.
2. The shot is closing in on her. Spiraling into her thoughts. This signifies that we are having a deep emotional connection with the character.
3. The focal length is not very large. You can tell we're in a room with a moderately low cieling so the camera is not that far away.
4. The colors here are dull for the most part, except for her bed sheets, which stand out and frame her quite nicely.

1.This is a medium close up shot, taken from a high angle at a dutch tilit, and is a clean single although she's looking away from the camera.
2. We are focusing on what Amelie is looking at in this scene, and her thoughts twirling with the new information. Hence the dutch tilt.
3. The camera lens seems fairly tight in order to just focus on Amelie here.
4. This shot almost seems like POV even though it is not directly from her eyes but we can still see what the hands are doing. The shot choice makes her appear cute.

1. This is a close up over the shoulder shot made just below eye level.
2. We are over Amelie's shoulder in order to see what she's looking at. Her expression is not what's important at this exact moment.
3.The focal length is fairly long with a moderately low f stop.
4. The costume choices her clearly have Amelie sticking out as main characer, while the two men are dressed in brown trench coats, which makes them blend into the background more.

1. This is a close up shot made from a low angle and is a two shot.
2. The man being behind her while talking to her really creates an intense moment with Amelie because it is almost like she's being cornered and left alone to deal with her own thoughts.
3. The camera has a shallow depth of field in order to make the man in the back seem blurry, and the focal length is long to make it look like Amelie is being pulled towards us and puts the man way farther back than he actually is.
4. The costume choice here makes Amelie stick out like a red apple. While the man's outfit is plain with browns and greens and blends into the background instead of sticking out.

1. This is a close up shot with a dirty single and is made at eye level.
2. The composition has both of the characters on a similar playing field. The cam is at eye level, not raising or lowering one or the other, which signifies they have about the same level of power.
3. The camera seems to have a wide aperture and a slow shutter speed to make the man blurred out in the foreground but Amelie not.
4. Amelie's face is very well lit and stands out against the dull beige back wall.

1. This is a master shot from a low angle and shows a two shot.
2. The shot is taken from way below to show the camera coming in. It is already in position for them to follow as they come down the stairs continuing their conversation, but also shows the beautiful scenery.
3.The camera focal length is very wide because we are not zooming in on the characters, but rather following them through the environment.
4. The bright yellow sun and bright greens are heavily contrasting the two individuals walking down the stairs and creates a nice, easily understandable, silhouette.

[EvelyT]

Evely Torres


Shot 1:
This shot seems to be taken with around a 24mm at around f/10 as there is almost like a fisheye effect that is not fully there as well as slight blurring towards the end that isn't enough to wash out too much. It is at a slightly low angle framed between the left and right third, the name of the cafe falling right onto the top third of the frame. It is surrounded by many rectangular and linear shapes such as the rest of the windows on the building, yet the cafe falls on the one rounded part of the building. Roundness in this case seems to evoke friendliness as well as a sense of community from the cafe, which is fitting as there tend to be crowd shots taken from the diner as most of the characters come together and interact within this area, showing off their dynamics as a group and demonstrating the diversity of the people that meet there. The aforementioned framing elements single out the cafe as well, emphasizing that this will be a central meeting point throughout the story and that important plot points will take place there. This is the only place within the frame that is bathed in light, booth the neon and the warm interior, the rest of the world falling in shadow. The light demonstrates the liveliness and warmth that can be found within, and it could also mean that it is also a source of light in the lives of others, almost like they can go there to find excitement and comfort, further emphasized from the red/neon elements that provide strength per its symbolism.


Shot 2:
This is a wide shot taken at a low angle depicting Amelie in a clean single. She rests in the upper third of the frame, but leans a little closer to the right third and not directly in the middle. It's taken with a focal length around 40 mm with a slightly deep d.o.f around f/16 as the background can be seen semi clearly without much blur. Her descending a staircase demonstrates that she is about to embark on a journey, her isolation meaning that it is one she will take alone, though she will find support along the way. The sound further emphasizes her isolation as it is almost eerily quiet with nothing but the sound of her footsteps and music faintly playing which creates a slightly unsettling feeling. This adds onto an underlying feeling of uncertainty for her journey ahead. Within the context of the film, following this shot she will meet Nino, once again making this a good indication to the start of her journey, one filled with high and lows and emotional exertion. The light behind her is incredibly bright, almost sickeningly so, which could mean that she is leaving the familiar and descending into darkness/the unknown or that she is leaving an uncomfortable/mundane past behind. The leading lines, given by both the rails and the pictures on top of the rails almost seem to point Amelie down, guiding her into a journey that is deemed necessary for her to take. There is a slightly yellowish green tint to the frame, which in this context signifies uncertainty and inexperience as yes, she has had romantic partners before, but this seems to be the first one she is truly excited for and actively seeking out.


Shot 3:
This is technically a two shot, and the scene at first starts off that way, but arguably it transitions into a dirty single as the true emphasis lies on Amelie. To capture this emphasis, the focal length seems to be around 50mm and while initially starting off as a medium shot with two characters, it pushes in to become a close up shot on Amelie. While starting with an already shallow d.o.f, rack focus is utilized to bring the focus forward and solely on Amelie as, within the context of the scene, she is seemingly talking about a girl in a painting when she truly means to describe herself. This rack focus reveals the true direction of her words as she hides her true focus to be able to discuss her life to her neighbor. While her eyes are framed withing the upper third, she herself stands on the right third, which could be revealing of her underlying uncertainty towards her current situation despite her cheerfulness. She is also sporting an orange outfit, which can indicate her warmth and enthusiasm she feels when discussing her love interest, but it also represents her determination in pursuing him, as emphasized by her neighbor advising her to take her chance before it passes her by.


Shot 4:
This shot is a close up taken at a low angle of Amelie's father meant to show his confusion and curiosity upon finding his garden gnome returned. It's taken at a focal length around 50mm with an f-number around f/8, which allows for enough focus on his face with a slight blurring of the background to place emphasis on the character. It is a clean single that is framed through the bars of his gate, which emphasizes his isolation in addition to the muted sound of the scene. Within the scene, there is nothing to be heard but his quiet breaths and the calm sounds of nature, meaning to show that he is alone surrounded by the natural rather than in the company of others. His eyes are framed in the upper third, but he seems to between the left and right third, which can be visualized by the bars. The bars almost serve as prison bars rather than simply being a gate, a prison between Amelie's father and the rest of the world given the context that he always felt he was prevented from traveling as he wished, and now he is discovering that his garden gnome "traveled" the world without him. There is a slight yellow tint to the frame, and yellow can at times represent jealousy which he may be feeling for his garden gnome that was allowed to "roam" free while he has remained stuck. However, yellow can also represent optimism, which then foreshadows that Amelie's father will be able to finally leave his prison and travel as well, which is shown to be true as he finally sets off to travel near the end of the film.


Shot 5:
This is a dirty single medium close up taken at a slightly high angle above eye level, and it is also at a slight Dutch tilt. It is at around 35mm with around an f/10 focal shift to create a slight blur that isn't overwhelming. In terms of the whole scene, there is a choral ensemble played over the meeting between Amelie and the photo booth maintenance man, all of these elements coming together to paint this as a life changing revelation. It's not entirely about the man himself, but this revelation has much more to do with Amelie as she is the main focus of the entire frame, he is merely an element to her journey to ultimately get with Nino which is why he is barely in focus at all within the frame. While a Dutch tilt tends to symbolize something unsettling and disorienting, in context of the film and Amelie's journey, it is meant to symbolize instead that her world was turned on it's side as this is a key revelation to a mystery she had been trying to solve throughout the film, and once again, the emphasis is fully on her and to her reaction to this information rather than the discovery itself. While no direct source of light, the brightest point seems to be at her eyes, there even appears to be a slight slight over them, again to emphasize her reaction and demonstrate how she has completely lit up while this complete stranger, shrouded in darkness, has no idea what their meeting even means to her.



Shot 6:
This is a wide shot taken at a high angle to make Amelie appear small. It is at around 35mm and f/20 or so to create a clear area within the frame to create an emphasis on just how alone Amelie is. Within the context of the scene, she has yet again failed to meet Nino in the way that she wants, and she is devastated as a result, which is emphasized by the music that is a harsh brass ensemble that ends in a low droning note, symbolizing her dread in a moment that seems to last forever. She is in the lower third, and along with the aforementioned framing elements, this was meant to make her appear miniscule in a high emotion moment. She had been expecting a big moment of excitement only to be met with a disappointment far larger than herself, the framing element almost making it appear as if this disappointment is so large that it spews beyond her and makes her small. It is also at a Dutch tilt, further demonstrating the distress that she is feeling, and it interestingly contrasts an earlier Dutch tilt that came with a positive realization. The positive Dutch tilt was tilted towards the left, creating a slope from top left to bottom right, typically symbolizing the easiest route to travel as well as having positive connotation as we in the western word tend to read from left to right. However in this scene, the tilt is now towards the right which feels more unnatural and sickly, emphasizing the pit in her stomach that Amelie is probably feeling in this moment. Once again, as we tend to read from left to right, an emphasis on the right first feels more unnatural and uncomfortable, fitting as Amelie was not expecting such a disappointment. There doesn't appear to be a direct light, but rather a yellowish light that fills the scene, and whereas yellow can also mean positivity as an shown in an earlier scene, this particular shade of yellow (amber) symbolizes the feeling of being upset and irritated. As per research and interpretation, yellow has also been used to symbolize unrequited love, which fits in the context of the scene as after this Amelie is led to believe that she has lost Nino to Gina.


Shot 7:
This is an interesting single shot as we don't actually get a clear view at Amelie's face, we can only see her through the mirror, so it's almost as if the mirror is the character itself as she looks inward to contemplate her emotional "rejection". This is a medium shot at about 40mm which tends to be a conversational framing, which emphasizes the fact that she is "speaking" to herself as she is processing her emotions. The circular shape of the mirror in this context represents her trying to renew her harmony as when she first steps into her apartment, she is seething and throwing papers off the wall. However, she takes a moment to calm and regain the self she sees within the mirror. The only light in the scene lights her up warmly, which could be to try to comfort her in a moment of anger, but it can also further emphasize the hotness of the anger. The surrounding darkness also puts her into a position where the dark thoughts are encroaching her with the light keeping them away fully as she instead focuses on anger over sadness. The red plays an interesting role here as, per the context of the greater scene, it would've best symbolized love and passion as she was finally going to confess to Nino, however she ended up perceiving that she was rejected as he went with Gina. This make the red evolve into a passionate anger instead, further reflected by her home that envelops her in hot red and orange hues. This evolution even continues into the next scene as she changes to wear green, a color of envy.

[Adham Aatiq]

-This wide shot emphasizes the character's place within her environment, using a low angle to convey Amelie's vulnerability as she skips rocks by the water. Amelie’s red dress standing out against the greens and yellows of the landscape, drawing the viewer's eye to her. The director also highlights the contrast between her small figure and the vast surroundings, with a balanced composition marked by a clear horizontal line separating the water and the bridge.

-This is an extreme close up of Amelie’s hand picking up a rock to skip. The shot uses a low angle, with the camera almost at ground level, looking up at the character's hand and the rock pile. This creates a good sense of perspective and allows the rock to be the focal point. Her red dress contrasts with the earthy green/yellow tones of the rocks and street, drawing attention to her as she walks up to the rubble. I knew the rocks she was going to interact with because they were colored differently than the rest of the pile.
-The shot is a medium wide shot that includes Amelie and her environment. This gives equal importance to both the character and the giant picture book in her lap. The shot is taken from a straight on, eye level angle, which creates a sense of intimacy and calm. The centered composition of Amélie on the bed. Her wearing white in a room full of reds and green accents help her stick out even more as well. The background elements, like the lamps and paintings, are also arranged symmetrically, reinforcing a sense of balance.


- The shot is medium-wide, showcasing t in her surroundings but allowing space to highlight the shelves filled with sex tapes. It’s at a low angle and is framed slightly off center, with shelves curving around her, creating a sense of enclosure and a visual focus on her amidst the large, colorful environment. Even the camera seems to be slightly ajar. I think it reflects how Amelie feels out of place in the environment given its provocative nature.


-This extreme close up shot emphasizes Amélie’s face and intense focus, drawing the viewer into her emotional world. When Nino confronts her you can see the anxiety as she denies the fact that she was the person sending him cryptic messages. The angle is direct and level, allowing viewers to see her expression clearly and engage intimately with her perspective. Her proximity to the glass and the overlaid reflections create an additional layer of framing, representing the boundary between her inner thoughts and the outside world. The glass represents Amelie’s separation from others and her tendency to observe rather than directly engage.
-The scene uses a wide, high angle shot to emphasize Amelie's isolation, making the surroundings feel vast and empty. The camera's elevated position creates a sense of distance, making her appear small and alone in the expansive room. Framed as a clean single, Amelie’s black silhouette sharply contrasts with the lighter, yellow-toned background, reinforcing her solitude and introspection. The off center composition and her stillness highlight the poignancy of the moment.
-This close up, high angle shot is framed as a dirty single, highlighting the intimacy of the moment as Amelie moves closer, determined to embrace him. The colors of her attire play a key role, with her usually wearing red to symbolize her emotional state, now she wears green suggesting a shift in her mindset as she gathers the courage to confront her fears and take initiative in her own life. The composition draws focus to her, with Nino and the hallway leading towards her. The over the shoulder perspective adds to the intimate nature of the scene.

[MonsterMegalodon]

Cassandra Rebolloso Hanson

ACT1


This is a full shot which shows who Amelie is running in to when she goes through the subway. It gives the view a chance to see what Amelie is seeing with out it being a POV shot. The reason this is a dirty single is to show the that this is Amelie's first interaction to seeing Nino along with it being her love at first site moment. This scene has a dutch tilt in it to show that Nino is a bit weird for scrounging under the photo booth. But it also shows that Amelie is a bit crazy for falling in love with him when meeting him for the first time.
The Aperture on the bit more on the open side to be able to focus on Nino while blurring out Amelie to show that he is the focus now. There is a low ISO because there is no grain being shown since there is no need to make this scene grainy. Aling with the Shutter speed being a bit on the higher side because there is no fast movement happening, so there is no reason to have a big movement blur.
The color choices suggest that there is an underlining theme of sadness or longing. The only thing within the shot that is blue is the photo booth while everything else is some shades of yellow. The yellow within the scene suggests that this is how the normal world is plain and bland.

ACT2


This is a medium shot to show the the items around her along with her reactions. She is having a realization while watching something on the television. This is a clean single to show that she is alone The low angle is to show that she is feeling emotionally vulnerable since she has no one to lean on.
Amelie Feels like she's being framed with rule of thirds since on one side of her she has the lights, she has the pillow in front of her, and on the right side the picture frame is framing the other side of her which makes everything feel like she's. Kind of boxed in, even though there are. A lot of circles within the scene.
The reason for the smaller aperture lets Amelie and the background stay crisper so you can tell that they are different from each other but still blending. There is a very slight to no grain with this scene since there is no reason to make it grainy. The reason for the middle to highish shutter speed is to show the limited movement within the frame.
The color in this shot is interesting. There is a small blue lamp in Amelie’s apartment, the only one in this shot. While everything else is a warm orange color which shows what the so-called normal is, there is always a faint hint of a cool color. The cool color shows that there is always a sense of loneliness in the norm of society. The warm colors of the room and Amelie’s clothing blend in, showing that she is trying to blend with her surroundings. Amelie tries not to stand out.


This is a medium clean single shot to show that he is alone and that and to get information from his surroundings. With this it shows that since he is by himself, Emily was able to sneak into his apartment and prank him. The Dutch tail is a very good indicator to show that something isn't right, that it is not going how it usually does in his world.
He is focused in the middle, but with the rule of thirds, even though it is a bit. Skew both the door that he is looking at and the door in the background is helping frame him, showing that he is in the important.
I would say the F stop is about average along with the shutter speed. Actually being on the higher end since we don't see a lot of motion blur, but we do see the background in the backroom being blurred and not clear. I would say the camera has about a lower to medium focal length.
In this scene there is not very much light, which also adds into the Dutch. Till that it is a bit disorientating. Everything in this scene is green, which shows that he is a greedy person and doesn't really take care of others. Along with there being a bunch of squares within the scene that shows that he and traps himself Since he's not really nice to other people, he's shown as a villain.


This is a wide POV shot with a low angle. It is to show that we are looking through Nino eyes, seeing everything that he is seeing. The high angle provides that even though we are seeing from higher up he still is not in power since we are seeing people below their eye level.
Amelie is positioned on screen left so it is natural for us to read her clearly. With Amelie's actions it puts her over the top so it is also easily clear for the audience and Nano to see her since her and you know are trying to Me up but they keep missing each other.
The F stop is of a higher number since both Amelie and the background are pretty clear where they kind of blend into each other. Whereas the shutter speed is more on the higher end since we don't see much motion blur from the characters on screen along with the focal length being More on the shorter end. Since we see the background kind of meshing in and blending in with Amelie. There is not much distance between the middle ground and the foreground.
The lighting within this shot is pretty broad, but since we are seeing through a telescope, it is constricting some of our visuals which makes everything seem like there is a Halo effect around it. Amelie is dressed in red which should be making her stand out, but she is not fully stood out since she is standing next to a rose Bush which also has red flowers on it.


This is a wide POV shot with a low angle. It is to show that we are looking through Nino eyes, seeing everything that he is seeing. The high angle provides that even though we are seeing from higher up he still is not in power since we are seeing people below their eye level.
Amelie is positioned on screen left so it is natural for us to read her clearly. With Amelie's actions it puts her over the top so it is also easily clear for the audience and Nano to see her since her and you know are trying to Me up but they keep missing each other.
The F stop is of a higher number since both Amelie and the background are pretty clear where they kind of blend into each other. Whereas the shutter speed is more on the higher end since we don't see much motion blur from the characters on screen along with the focal length being More on the shorter end. Since we see the background kind of meshing in and blending in with Amelie. There is not much distance between the middle ground and the foreground.
The lighting within this shot is pretty broad, but since we are seeing through a telescope, it is constricting some of our visuals which makes everything seem like there is a Halo effect around it. Amelie is dressed in red which should be making her stand out, but she is not fully stood out since she is standing next to a rose Bush which also has red flowers on it.

ACT3


This shot is a medium shot with a low angle since. Emily is feeling a little bit mischievous in this scene. This is a clean single to show that she is the only person in this room. This shot is trying to convey the action she was trying to do To get her point across for later.
Amelie is right in the middle of the scene, so she Has the audiences full attention. Other than getting the audition answers full attention through being in the middle of the scene, we are also using rule of thirds with how she has the scissors and the paper in her hand framing her body along with the table at the bottom. This stays in this type of motion where she stays in the middle but has different objects to keep her in the rule of thirds. Since in another frame she is seen holding up paper and a glue stick.
This scene has a low F stop since she is clear, but around her towards the background is a little more blurred. Along with a bit of a higher shutter speed. Considering there is no fast movement happening, there is no. Blurry as well, but it does seem like there is a smaller focal length on the camera considering we get closer and closer to her in this scene.
Amelie is usually shot with red around her, but there is always a little bit of blue picking around her, showing her insecurity or the little bit of Hesitance or not understanding that she gets. But with all the red, she Tries to find love and she has a lot of love to give.


This is a master shot, but it is also a clean low single. Considering Amelie is the only person in this shot, we are looking below her which she's supposed to signify that She is feeling a bit insecure in this scene. In this scene. It feels like that even though it is only her, she's so small within this environment that there are bigger problems than just her.
Amelie is on the screen right of the scene, which is a bit more drawing for the viewer to look at. This shows that something is off. She is looking into the water at this and trying to figure out what she should do. She’s trying to recollect herself.
There is a bit of a higher F stop since her and the background are both clear within the scene. It might be. A little bit jarring that she is still not fully clear. The shutter speed feels like it's on, not the Super low end but towards the middle considering there is still movement within the scene. Along with there being a low focal length. Considering she is being blended in with her surroundings.

[BSmith01]

Blake Smith


Act I

Shot 1:

The full shot in this frame is used to emphasize the speed of the falling woman and the helplessness of Amelie and her mother. It is a clean double as the dramatic and important event taking place should not feel at all ambiguous. The only two characters that matter right now are Amelie and her mother. The angle is very high, not only because the threat is coming from directly above, but to give a visceral thrill. It seems a slight tilt shift is used to add to the apparent speed and support the two characters helplessness. The focal length is quite short, lengthening the space between the foreground and background in order to give a feeling of great speed. The f-number is likely a bit low which keeps them out of focus until the moment she is hit. The red of Amelie’s dress pops in the frame. Amelie seems to be coded as red throughout the film. The camera very quickly pushes in from above, likely utilizing a boom of some sort.

Act II

Shot 2:

The medium wide shot of this frame is used to capture the emotional interaction between the two characters. It is a clean double, but we are also meant to take notice of the girl in the painting. The angle is slightly low, perhaps showing that even though they just met, these characters care for one another and have already known each other in a way. Amelie is framed by the man and the canvas to make it clear that she is the girl in the painting. The focal length is average, creating very little distortion of size. The f-number is likely a bit low as Amelie seems slightly out of focus. The camera is static here, but there seems to be a very small rack focus onto Amelie as she starts talking. The similar color language of Amelie’s outfit and the painting makes her feel as if she is part of it, which she is.




Shot 3:

The closeup shot of this frame is used to give an idea of the internal feelings of Amelie in this moment. It is a dirty single, showing us that our emotional focus is on Amelie even though the man is talking. Amelie is trying not to draw any attention to herself so she refuses to acknowledge the man with anything more than small sounds of conformation. The angle is very slightly low, showing that Amelie is nervous, but now out of control. The focal length is a bit low, making Amelie appear much larger than the man, again drawing our focus to her. The f-number is likely a very low, apparent by the shallow DOF. The man’s dark clothing stands out amongst the otherwise bright background.




Shot 4:

The medium closeup shot of this frame is used to put focus on Amelie’s face while also displaying the environment around her and showing some of her body acting. She is ready to take action. It is a dirty single, but the focus is definitely on Amelie. There are a few people in the background, but that is all. The angle is quite low, showing that Amelie is in control and resolved. She finally knows what she is supposed to do. The focal length seems small, causing Amelie to appear large compared to the background. This emphasizes her sense of importance in this moment. The f-number is average to low, apparent by some blurring in the background. The Dutch tilt is used to show that Amelie’s entire outlook has changed. Her way of being is altered. The camera perfectly follows Amelie as she walks forward. She feels very central here.




Shot 5:

The medium shot of this frame is used to put focus on Joseph face and body acting as he realizes, falsely that Georgette is in love with him. It is a dirty single, but we are also meant to see Georgette in the mirror. The angle is slightly low, showing some emotional vulnerability. The focal length seems average, causing no serious distortion of size. The f-number is average to low, apparent by some blurring in the background. The camera tilts up slowly to reveal Georgette framed in the mirror behind him, as he takes notice of her for the first time.




Act III

Shot 6:

The pov medium closeup shot of this frame is used to show body acting, despite the fact that are characters are silhouetted. Narratively it also shows ow invested the Glass man is in Amelie. It is a clean double, though we cannot actually see their faces. The angle is low, showing emotional vulnerability and that both characters are happy where they are. Both are finally emotionally resolved after their exhausting introduction. The focal length seems quite long, utilizing the binoculars for a particular effect and a a lens in the frame. The f-number is average to low, apparent by blurring in the foreground. There is some movement in the camera here as it is a pov shot.




Shot 7:

The full shot of this frame is used to show body acting, and add movement to the scene. It is a clean double, as our focus is purely on the two characters. They are in a world of their own. The angle is very low, showing that both characters are happy where they are, finally with one another. The focal length seems short, lengthening the scene. The f-number is average causing slight blurring in the foreground and background. The camera being a handheld shot along with the Dutch tilt and sped up footage creates a feeling of chaos. Amelie is no longer fully in control, but she is more content than she has ever been.

[Roberto]

Robby garcia

[ChayaNF]

Chaya Fuller

Master shot, being a dirty single since we can see the characters in scene but not their face. Being set at a low angle so we can see the environment around them more. This shot's motive is to director its eye to the people on the screen but also to let us know that they are in a new environment. In the shot the mis en scene is how they light up the scene having a slight yellow tent. Lighting always played an important rule thought this film. The yellows tent getting lighter or darker depending on the character mood thought-out the film.



This is a full body shot allowing us to see all the character and the emotions on her face. The framing is a clean single, showing us they loneness if the character in frame. The camera angle is placed at a low angle. This lens seems to be 160mm, since we are able to still see the character's full body in frame. Th mis en scene in this scene would be the costume and set design, the character outfit matches parts in the environment. Like the color of dress matches the single chair. This could me a lot, like the character scene of loneliness where the only one of everything.


The shot size and framing are a wide shot, with clean single, placed at a low angle, we are able to see the character full body in the scene. It is placed at a wide shot, so we are able to see the environment . The in this Lenses most be around 15 to 35mm because we are able to get a good view of the character and this mix with the mis en scene, with the lighting and set. The set almost put this character in a frame within a frame. With the chair around her shaping her within said frame, and the lighting being that yellow color again but a lot dimmer and softer can see how this character is feeling that this moment almost confused.

This shot is a clean single, at medium close up, at eye level shot. This is how the relationship between these two characters is in the scene. Showing us how close to each other but also far part they are too. The Lenses used in this shot is a telephone lens. The mise en scene in this scene with be part of the costume and the set around them. The yellow tones and red tones. The yellow tones in this scene are shown in the lighting. The yellow is brighter and a lot harder when she is with her dad, meaning their strong emotions in this scene.


A medium close up shot, Frame within a frame, single shot, at a high angle, the lenses seem to be a telephone lenses but closer to 130 scent we are so close to her in the scene.The mise en scene in this shot is in the set and environment, with everything being in darker tones around her, from the lighting to her outfit, it makes us feel that fir her all is lost at this very moment and that she could be feeling trapped and caged in.


This shot is a medium shot, a clean single and is at a Dutch angle, these shots were used to show a sense of realization within the character. Not only allowing us to see it on his face but also feel it in the scene. The Lenses use for this would be like a fisheye lenes, being around 15mm because the scene is that distorted. Th strongest part of the mis en scene this scene is the lighting, it is brighter than everything else around it helping to add to the moment of realization, making everything a stronger but lighter yellow.


This scene is a closeup, being a dirty single, and a high level looking down. This framing is to show how close and interment it becomes between these two characters. The Lense used for his shot was telephone lenses at 200mm, so we can be close and personal with the characters. The Mise en scene in this scene would be the lighting ., which seems to be a common trend thought-out this movie, the light is no longer a very strong yellow and has turned into a soft light yellow allowing us to see everything in scene and see how the world around the main character has also soften in a sense.

[Leopoldo]

Act1:

Shot1


Shot Size, Angle, Framing

• Shot Size: Medium close-up, emphasizing the character’s facial expression while maintaining some context in the background. The medium close-up allows the audience to sense his sadness and nostalgia.
• Angle: Eye level, fostering a direct and personal connection that emphasizes his reflective state.
• Framing: Centered Sigle Clean, with the Sacré-Coeur visible through the window, suggesting a link to Paris, a city known for both beauty and melancholy.

Shot Composition, Direction, Motion

• The still composition frames the man against the Parisian background, creating a contrast between his isolation and the vibrant world outside.
• His solemn expression and static pose convey his grief, reinforcing the melancholic mood.

Lenses and Camera Settings

• Likely a 50mm standard lens, which captures natural perspective without distortion. The slightly shallow depth of field subtly blurs the background, focusing attention on the character’s face, underscoring his internal sorrow and distance from the outside world.

Mise en Scène

• Lighting: Soft, warm lighting casts a nostalgic yellow hue, creating a sense of warmth tinged with sorrow.
• Set & Props: Cluttered surroundings, including items that hint at a rich history and possibly a cluttered mind, adding layers to his character.
• Costume & Makeup: A dark suit suggests mourning, aligning with the subtitle’s reference to his best friend's funeral, thus setting a somber tone early in the story.

Other Relevant Information

• The “frame within a frame” effect created by the window positions him physically within his room but symbolically outside the world, possibly reflecting a life spent in contemplation or regret. This isolation from Paris contrasts with the vibrant city behind him, emphasizing his emotional detachment and conveying a story of personal loss that adds depth to his character.

Act2

Shot2


Shot Size, Angle, Framing

• Shot Size: Close-up of an elderly woman, revealing her facial expression in detail and focusing on her introspective engagement with the task in finding the person who last lived in
  • Amélie’s's place.
• Angle: Slightly high angle, offering a subtle sense of observation, almost like a child looking at a beloved elder.
• Framing: Single Clean framing keeps attention on her face, underlining her thoughtful demeanor.

Shot Composition, Direction, Motion

• The static composition allows us to fully appreciate her concentration and wisdom, adding to her character’s warmth and suggesting a life of simple contentment and diligence.

Lenses and Camera Settings

• Likely a 35mm lens, providing a slight wide-angle view that keeps her entire face and expression sharply focused while allowing the background texture to appear slightly blurred. This choice creates a sense of intimacy with her character.

Mise en Scène

• Lighting: Natural, warm tones give her an approachable, homely aura, suggesting that she is a comforting figure in Amélie’s life.
• Costume: Her brightly patterned dress with earthy tones reflects her personality—warm, grounded, and perhaps a source of joy and stability.
• Set & Props: The stony, textured wall in the background provides a subtle contrast to her colorful attire, highlighting her individuality within a simple, rural or old-fashioned environment.

Other Relevant Information

• Her detailed expression and the gentle lighting contribute to portraying her as an anchor within Amélie’s world, a symbol of tradition and reliability. This shot subtly hints at her wisdom and the comfort she provides to those around her, reinforcing the film’s themes of human connection and memory.

Shot3


Shot Size, Angle, Framing

• Shot Size: Close-up, focusing on Amélie’s face, allowing the viewer to fully engage with her emotion.
• Angle: Eye level, facilitating a direct and introspective moment between Amélie and the audience.
• Framing: Centered Single Clean on Amélie, underscoring her role as the protagonist and central figure.

Shot Composition, Direction, Motion

• Her direct gaze into the distance gives a sense of longing and curiosity, contributing to the overarching narrative of Amélie’s search for meaning and connection.
• The balanced composition underscores her purity of intent.

Lenses and Camera Settings

• Likely a 50mm lens with a shallow depth of field, creating a natural perspective that keeps Amélie’s face in sharp focus while softly blurring the background. This allows her expression to dominate the frame, highlighting her innocence and introspection.

Mise en Scène

• Lighting: Soft and warm, enhancing her innocence and suggesting a sense of warmth in her character.
• Costume: Her minimalistic black dress and natural look convey simplicity and sincerity, essential traits of her character.
• Background: Minimal detail in the background keeps the viewer’s focus on Amélie’s face, emphasizing her emotional depth and inner thoughts.

Other Relevant Information

• This close-up shot serves as an intimate window into Amélie’s character, emphasizing her introspective nature and her yearning for connection and understanding in a world that often feels distant. It draws the audience into her personal journey, setting the tone for her character’s development.

Shot4


Shot Size, Angle, Framing

• Shot Size: Medium close-up of Amélie interacting with another character, placing equal focus on both.
• Angle: Eye level, providing a sense of equality and honesty in the interaction.
• Framing: A Balanced Single Dirty framing between Amélie and the man, highlighting the significance of their connection.

Shot Composition, Direction, Motion

• The centered, symmetrical composition focuses on their interaction, which appears to be contemplative or reflective.
• Amélie’s gaze and posture suggest an intimate or pivotal exchange, as she holds a cup—possibly a symbol of comfort or an offer of connection.

Lenses and Camera Settings

• A 50mm lens with a moderate depth of field ensures both characters remain in focus, preserving the emotional exchange between them.

Mise en Scène

• Lighting: Warm, dim lighting adds intimacy to the scene, suggesting vulnerability and personal connection.
• Costume: Amélie’s understated black outfit contrasts with the more vibrant tones of the room, highlighting her unique perspective within the narrative.
• Background Elements: The presence of a painting and soft fabrics suggests a creative, inviting environment, adding to the scene's warmth.

Other Relevant Information

• The balanced framing and warm tones reinforce Amélie’s sense of discovery and curiosity about the people around her. This interaction subtly supports the film’s theme of finding beauty and depth in human connections, adding layers to her personal journey of empathy.

Shot 5


Shot Size, Angle, Framing

• Shot Size: High-angle wide shot, which minimizes the character within the urban setting.
• Angle: Extreme high angle, almost like a bird’s-eye view, emphasizing detachment.
• Framing: Could be a dirty single or a crowd shot but since the focus is on him it's mostlikely the dirty single and the character is looking up at the camera, creating a stark contrast between him and the bustling world around him.

Shot Composition, Direction, Motion

• The character’s gaze upward, with the movement of passersby, creates a striking sense of isolation and anonymity.
• This perspective portrays him as lost or overwhelmed by the city around him.

Lenses and Camera Settings

• Likely a 24mm wide-angle lens to capture the street and the people in motion. This lens enhances the sense of scale, making the character appear small within the urban landscape.

Mise en Scène

• Lighting: Natural lighting creates a realistic street scene, contrasting with the warmer tones of Amélie’s world.
• Set & Props: The busy street setting highlights themes of urban alienation and anonymity.
• Costume: His muted attire allows him to blend into the background, underscoring his insignificance in the bustling environment.

Other Relevant Information

• The high angle and wide framing emphasize the character’s emotional and physical isolation within the city, aligning with the film’s exploration of loneliness amidst crowds. This shot strengthens the narrative of Amélie’s desire to connect with such people, helping “invisible” individuals feel seen.

Act3

Shot6

Shot Size, Angle, Framing

• Shot Size: Close-up of an elderly man, highlighting his age and experience.
• Angle: Eye level, creating a sense of honesty and vulnerability.
• Framing: Centered Single Clean, allowing his face to dominate the frame and emphasizing his solemn expression.

Shot Composition, Direction, Motion

• The stillness of the composition reinforces his somber expression, evoking wisdom or regret.
• His worn expression speaks to a life of experiences and emotional weight.

Lenses and Camera Settings

• A 50mm lens with a shallow depth of field to isolate him from the background, focusing all attention on his face and expression.

Mise en Scène

• Lighting: Soft, warm lighting accentuates his wrinkles and fur hat, reinforcing his age and experience.
• Costume: Traditional clothing suggests a nostalgic connection to the past.
• Background: Subdued tones in the background direct focus to his face, underscoring the weight of his experience.

Other Relevant Information

• This close-up conveys a sense of loss and memory, adding gravitas to the film’s theme of personal histories and the weight they carry. His presence serves as a reminder of the importance of the past and its emotional impact on the present.

Shot7


Shot Size, Angle, Framing

• Shot Size: Medium close-up of a man’s surprised expression.
• Angle: Slightly tilted, adding an element of disorientation to his reaction.
• Framing: Off-center Single Clean, emphasizing the character’s shock or surprise.

Shot Composition, Direction, Motion

• The slight tilt combined with his expression suggests a sudden realization or a moment of clarity, evoking curiosity and tension.

Lenses and Camera Settings

• Likely a 50mm standard lens, allowing the viewer to clearly see his expression while subtly blurring the background to keep focus on his reaction.

Mise en Scène

• Lighting: Warm but intense lighting, heightening the drama and conveying an emotional intensity.
• Set & Props: The large arched windows add an impersonal, public element, contrasting with his personal reaction.
• Costume: His dark clothing blends with the background, making his expression stand out more prominently.

Other Relevant Information

• The tilted angle and intense lighting convey a moment of revelation, reinforcing the film’s theme of sudden realizations and personal growth. This shot encapsulates the unexpected moments of clarity that punctuate life, supporting Amélie’s narrative of self-discovery and emotional awakening.

[SamseraiLopez]

Samserai Lopez



1.




This shot starts as a single full shot at eye level to show the surrounding of our character and what her relationship is to that environment that pushes into a closeup. This is to simulate the feeling of unknown when she’s far from a feeling of intimacy or internal feeling as the narrator gives us details on the inner workings of her mind. The movement used to create this shift is a push in. The lens is a longer focal length as you can tell from how flat the background looks in comparison to the actual space between the character and the building itself. The building is important because she’s surrounded by harsh lines and squares to indicate a rigidity to her personality. This is even reinforced using costume, there’s almost no variance in color to the outfit, it’s all red/maroons that just vary in value even down to her hair. She’s very stuck in the same place with no strayation to where she resides. The stuck feeling is pushed further with the frame within a frame with the pillars of the building boxing her in.


2.



This shot begins as a single medium close up shot that follows her into a fullshot from an eye level to slightly high angle. This is the big shift and is following that shift for the character visually and making that space look further apart using a shorter focal length. The composition has her in the center at all times during this shift using a push in followed by a tilt shot as well to follow her movement to the floor. The colors here are important- we find her with the red all around in the wallpaper and the door frame when she hears the news then as that pivotal moment happens where she finds the stuff in the wall that starts the domino effect that red frame that’s boxing her in becomes smaller until she’s just in a yellow room. A shift from intensity to warmth and almost a feeling of surrealness. Outside of the norm. The background tv announcer fades in as we hear the whoosh of the realization as we push in. It’s being emphasized that this is big and things are about to change.


3.



The shot here is a memory, the use of no color and a melodic tune helps to set that differentiation in the story especially and so the reliance on sound to set the mood and tone of the memory is vital. The shot itself is a double full shot at a dutch tilt to create a sense of unease about what is about to happen. Even the whistle that fails to blow is indicating that things are out of place here- things are not going to go well and this event is a shift for our character. The costumes set us in the past to push the time jump to show when this occurred.


4.


This shot is technically a full shot but I’d call it a dirty single. The camera here is intentionally flattening the background and the foreground so that he looks so tiny- he’s a small part of her world- nobody important but he’s directly in her path. The leading lines here indicate there’s something more important at play here- whoever he is he is directly in her path and there’s no other place for her to go, as the viewer we’re meant to see that this meeting is inevitable, it’s foreshadowing and the loud diegetic sounds of the world around her come to a stop as soon as she stops to notice him despite the world continuing on we know for her that’s not entirely true. The colors here are very green in hue this could be a connection to nature- or rather human nature in this case, she’s distanced herself from these types of feelings but whatever she’s walking into here is going to grow into something fruitful or at least it could.



5.




This is a single closeup shot from a high angle. We’re meant to see the realization on her face- this is to indicate inner dialogue without needing to say a single word. The f stop is on the lower side so most of the background fades into nothing.The focal length is longer to flatten that foreground into the background as well. It’s just her in this shot- and I’m not talking about other characters but rather the world fades into nothing, the diegetic sound even mirrors nondiegetic sound. The bell in the room rings which is an actual sound but it was used to mirror the lightbulb that just went off about what was just said- the recipe for love. The green she’s wearing is symbolic of the love and growth that she’s beginning to lean into. The composition even has her dead center- she’s determined now. She has a plan moving forward and she’s about to test it out.




6.

This is a medium close up dirty single- it’s a shot of her but the top left corner is her imagination so I would consider that it’s own shot so I’d say that makes it a dirty single since they’re two separate but the focal point is still her. It’s shot from a high angle with a lower fstop closer to about f11 or so so that the background is recognizable but not clear enough to focus on. The composition has her in the center because at the end of this shot the beads are the focal point. The colors here are heavy in the red and greens to really highlight the love and passion as well as the loss of connection after the news she heard. The diegetic sound in her imaginary story of her non-existent relationship with a man she barely knows turns into diegetic sound as her cat comes in so it ties her imaginary world to her real world hinting at an overlap between the two.




7.



This is an over the shoulder dirty single medium close up from a high angle. This is the inevitable meeting between the two- this whole time we’ve had leading lines and small hints that these two will have to intersect paths. The camera is a longer focal length so that they look so close to each other. The colors are still heavy in the red and greens to emphasize the connection and passion. The sound here builds up anticipation for her going to chase him that comes to an abrupt stop when he ends up right outside the door. The composition still has her in the center- this is her story they want her to be the focus and by having her in the center and him in the corner they feel cramped together- basically already on top of each other and she's emerging from the red room into his yellow hallway. This is a merging of worlds that has been built up this whole time.