27 user 7 critic

Amelia and Michael (2007)

In London, the executive Michael and his wife Amelia have successful upper class lifestyle, living in a comfortable house, having a fancy car with driver and showing a great respect and ... See full summary »


Daniel Cormack


Stephen Betts
2 wins. See more awards »


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Credited cast:
Anthony Head ... Michael
Natasha Powell ... Amelia
Julian Nicholson ... Francis (as Julian Lee)
Justin Stahley Justin Stahley ... Hospitalised Man
Mac Elsey Mac Elsey ... Consultant
Rebecca Cooper Rebecca Cooper ... Nurse
Naomi Martin Naomi Martin ... Call Girl
Zack Middleton Zack Middleton ... Hotel Porter
Adam Joyce Adam Joyce ... Motorcyclist
Peter Scott Peter Scott ... Chauffeur
Eva Philogene Eva Philogene ... Hospital Porter
Rest of cast listed alphabetically:
Lee-Ann Robathan Lee-Ann Robathan ... Herself - Passer By (credit only)


In London, the executive Michael and his wife Amelia have successful upper class lifestyle, living in a comfortable house, having a fancy car with driver and showing a great respect and affection to each other. However, Amelia has a lover in coma in the hospital, and she frequently visits him and pays the expenses of his treatment. While traveling to Milan in a business trip, Michael has one night stand with an escort girl. Amelia receives a phone call, and when she arrives in the hospital, she realizes that her lover has died. When Michael returns from Milan, their lives return to their hypocrite routine. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis







Release Date:

12 September 2007 (USA) See more »

Filming Locations:

London, England, UK

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby Digital | Dolby SR



Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


Shortlisted for the Akira Kurosawa Memorial Short Film Competition, run by the Akira Kurosawa Foundation. It was the only UK entry to be shortlisted. See more »

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User Reviews

It's not exactly a barrel of laughs, but the way it is presented will leave you impressed.
12 November 2011 | by BA_HarrisonSee all my reviews

If I'm going to be frank, I found the story of Amelia and Michael just a little bit on the dreary and depressing side for my liking: an affluent married couple's relationship is on the verge of collapse, the wife (Natasha Powell) sneaking off to visit her motorcycle-riding bit of rough on the side, who is in intensive care after an accident, and the husband (Anthony Head) indulging in a spot of hanky-panky with a high class escort girl. Told at an extremely leisurely pace by director Daniel Cormack, this brief insight into a private world of secrecy and lies is very low on the feel-good factor: after eleven minutes, nothing has been resolved, leaving this particular viewer feeling a tad morose.

But although this low-key character study could never be described as cheery, Cormack's keen understanding of his medium still makes this a worthwhile watch, especially for those interested in the technical aspects of film: from careful shot composition and camera placement, to precise editing, to considered use of music and subtle lighting, this is a highly accomplished piece of movie-making in almost every department.

Take the opening shot, for example, which has Cormack's characters sat at either edge of the screen with nothing much happening in the middle; at first I had this down as sloppy framing, but felt a bit of a twit once it became clear that the space between characters was not a clumsy mistake but rather a clever metaphor for how husband and wife have become emotionally detached from each other (the same trick is used as the couple get ready to go to bed). This level of visual acuity can be found throughout Amelia and Michael: the potentially sensational material—the sex and death—is dealt with sensitively using subtle suggestion rather than blatant imagery; Michael's regret is powerfully handled in a tightly edited sequence that sees him unable to sleep in the bed in which his act of infidelity took place; and muted colours reflect the monotony of the situation while a neat cyclical narrative device—the appearance of a motorcyclist—effectively conveys hopelessness.

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