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The act of watching a movie – or reading a book – that meant something to me when life was less complicated is enough to raise the levels of dopamine and/or oxytocin in my system (or at least make me feel like it does, which is the same thing). Fran Hoepfner Bright Wall/Dark Roomįor me, I often derive comfort, if sad or depressed at the state of the world, from returning to works that affected me deeply when I was younger. Darkness fades away momentarily when “Amélie” is playing, and you let yourself be illuminated by its happy glow. Her whimsical escapades, enlivened by Yann Tiersen’s transporting score, are life-affirming. Amelie’s world is one of peculiar characters battling loneliness and finding hope in the kind actions of a stranger or acquaintance who’s taken it upon herself to spread kindness. Today, nearly 17 years later, rewatching it is an escapist pleasure. Watching Jeunet’s stunning -and admittedly highly unrealistic- depiction of Paris and romantic relationships was an epiphany of the same caliber for me. Surely, most people have heard filmmakers or critics who were engrossed by “Star Wars” in their childhood, compelling them to chase the magic of the movies.
As a young kid in Mexico City, the popular French delight was my first encounter with international cinema outside of the Hollywood machine. Fully aware of what its detractors argue against it with valid concerns, Jean-Pierre Jeunet’s “Amélie” remains the pinnacle of rapturous joy in this film lover’s eyes.