She tries to keep her life within the world of childhood pleasures, notably through playing games.
Although she is physically no longer a child, her attitude shows that she is scared of stepping into an adult world.
It has been said that her character is ‘articulated around the trauma of a lost childhood’
Amelie is inhibited. She enjoys being around people but is pathologically shy and withdrawn, to the point of sometimes
becoming transparent. This is evident in the scene when she first meets Nino at the station, or on her encounter with
Bretodeau in the bar, where she chokes in her drink because he addresses her directly.
She prefers mediated (rather than in person) communication:
This is shown through Videotapes, fliers, cryptic notes, photographs or anonymous phone calls.
She also uses a telescope to remain distant form others and even wears costumes to conceal her own identity.
Anonymity is key to many of Amelie’s interactions. She tricks her childhood neighbour by hiding on the roof and pranks
Collingon by sneaking into his flat. When Nino seeks her out and asks ‘Is this you?’ whilst holding her poster, she
denies it.
The film lingers on the small aspects of everyday lie which can be universally related to. This has been said to be a
characteristic of ‘Petisme’ or ‘paying homage to little things and pleasures’. Characters are in tern identified by these
small pleasures and idiosyncrasies. For Amelie’s character it’s through the colours of red and green, collecting pebbles or feeling grain.
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