Amélie, 2001 ‘Le Fabuleux Destin d'Amélie Poulain’ Directed by Jean-Pierre Jeunet ONE PERSON CAN CHANGE YOUR LIFE FOREVER. At a tiny Parisian café, the adorable yet painfully shy Amélie (Audrey Tautou) accidentally discovers a gift for helping others. Soon Amelie is spending her days as a matchmaker, guardian angel, and all-around do-gooder. But when she bumps into a handsome stranger, will she find the courage to become the star of her very own love story?

A circus' beautiful trapeze artist agrees to marry the leader of side-show performers, but his deformed friends discover she is only marrying him for his inheritance.

On Friday, a single e-mail blips through the Internet. The word spreads quickly through the city: the party is on. Saturday evening, two hundred people secretly converge at an abandoned San Francisco warehouse. As the sun sets the records start spinning, setting into motion a night that no one will forget. David Turner, his brother Colin and Colin's girlfriend, Harmony go to Groove and have a night that changes the brothers forever.

A psychiatrist with intense acrophobia (fear of heights) goes to work for a mental institution run by doctors who appear to be crazier than their patients, and have secrets that they are willing to commit murder to keep.

An unconventional single mother relocates with her two daughters to a small Massachusetts town in 1963, where a number of events and relationships both challenge and strengthen their familial bonds.

Slapstick prevails again when Jacques Tati’s eccentric, old-fashioned hero, Monsieur Hulot, is set loose in Villa Arpel, the geometric, oppressively ultramodern home of his brother-in-law, and in the antiseptic plastic hose factory where he gets a job. The second Hulot movie and Tati’s first color film, Mon oncle is a supremely amusing satire of mechanized living and consumer society that earned the director the Academy Award for best foreign-language film.

Loretta Castorini, a bookkeeper from Brooklyn, New York, finds herself in a difficult situation when she falls for the brother of the man she has agreed to marry.

For his final film, Jacques Tati takes his camera to the circus, where the director himself serves as master of ceremonies. Though it features many spectacles, including clowns, jugglers, acrobats, contortionists, and more, Parade also focuses on the spectators, making this stripped-down work a testament to the communion between audience and entertainment. Created for Swedish television (with Ingmar Bergman’s legendary director of photography Gunnar Fischer serving as one of its cinematographers), Parade is a touching career send-off that recalls its maker’s origins as a mime and theater performer.

PlayTime, 1967 Directed by Jacques Tati Clumsy Monsieur Hulot finds himself perplexed by the intimidating complexity of a gadget-filled Paris. He attempts to meet with a business contact but soon becomes lost. His roundabout journey parallels that of an American tourist, and as they weave through the inventive urban environment, they intermittently meet, developing an interest in one another. They eventually get together at a chaotic restaurant, along with several other quirky characters.

Old and decrepit Krank (Daniel Emilfork) has lost his capacity for dreaming and is attempting to fight death by stealing the dreams of children. Krank's cadre of cloned henchmen (Dominique Pinon) snatch 5-year-old Denree (Joseph Lucien) to subject him to the horrific dream-retrieval process. The boy's father, One (Ron Perlman), the hulking strongman of a traveling circus, and his precocious 9-year-old friend, Miette (Judith Vittet), join forces to defeat Krank's minions and save Denree.