In the plethora of reds and greens that make up Amelie’s colour palette, orange is worthy of special consideration. No part of the film is left untouched. It may, then, seem counterintuitive to look upon orange as the exemption to the film’s digital colourisation. There is a scholarly agreement that colour …

In our first part of this essay, orange distinguished Amelie’s perspective and gradually seeped into the mise-en-scene. By colouring emotions of comfort and belonging with orange, we could relate to Amelie’s fantastical world. A children’s classic attesting to the power of imagination, the film version of A Little Princess employs orange in a, …

The consensus that every person sees colour differently is a fitting resolution to the ‘problem’ of Jeunet’s preferred aesthetic in Amelie (2001). Allan Cameron makes a distinction that is all too easily forgotten. Colour can be a light source, deliberately applied or symbolic (2021), yet we regard them interchangeably. Just …