Release date - February 13, Cert - PG

Run-time - 1 hour 18 minutes

Directors - Maïlys Vallade, Liane-Cho Han

In the first years of her life, Amélie (Loïse Charpentier/ Emmylou Homs) explores the world through her young interpretation, growing to understand it through the help of nanny Nishio-san (Victoria Grosbois).

It's rare that a scene can create an almost complete sense of calm. Even rare that that complete feeling can be induced for 70-minutes. There's a meditative quality to the hand-drawn world of Little Amélie as the first three years of the titular character's life (narrated by Loïse Charpentier as her future self, with in-the-moment dialogue provided by Emmylou Homs) play out in the colour of her imaginative point-of-view.

She acknowledges that her youth means she doesn't always understand the world, particularly int he wake of bereavement, but through the help of nanny Nishio-san (Victoria Grosbois) understanding starts to grow. There's an inquisitiveness to the central character, and indeed the film, as the Belgian toddler explores late-1960s Japan. Her world and lust for life awakened after trying white chocolate for the first time.

There's an air of Ghibli to the calmness of the avid exploration, especially when around water; whether it be a pond or the key effect of rain. Even amongst Amélie's energy. For 70-minutes I was transported into the film's kinetic world. Wonderfully detailed in the vibrant animation full of personality.

Accepting early on that the lead character believes she's God, born in a vegetative state and observing the world around her until she finds herself able to walk and (try to) talk during an earthquake. Humour and emotion intertwine in the heart the film is made with and emits. The relationship between Amélie and Nishio-san is full of care that understanding of the surrounding world takes on a layered meaning.

I was reminded of moments of peace between the leads of Lilo And Stitch. As when Lilo puts a Lei around the chaotic genetic experiment's neck as he creates havoc in her room. There's a gentleness to Little Amélie's short run-time, but one that subtly gets into the emotional beats and profundity through the central character's view. The relationships and behaviours she observes, the loss and rifts experienced - especially between Nishio-san and landlady Kasima-san (Yumi Fujimori) as they discuss the tragedy their families faced in World War II, and how that shapes their attitudes and actions now.

Little Amélie plays out as a film for adults from a child's perspective. With its PG rating, it's one that young people can watch, and will undoubtedly find something in, but there's another layer of maturity in the way the world is realised, and adapted from Amélie Nothomb's autobiographical novel The Character Of Rain. One that adds to the emotional aspects displayed in the warm embrace that the film creates in its visuals and style. From start to finish I found myself utterly entranced and in a state of pure calm by it. If this isn't one of the best and most affecting films of the year, 2026 will have been a brilliant year for film.

Five stars