Scoring 171,076 admissions in its opening weekend, Jean-Pierre Jeunet’s film has got off to a great start in Germany. Distributed by Prokino, the film reached the highest audience figure (1043 viewers) per print of the first weekend, and 370 000 admissions in 10 days. Out on a 164-print release, "Amelie from Montmartre" made a successful leap into the German box office, immediately claiming fifth place behind "Der Schuh des Manitu," "The Mexican," "Jurassic Park 3" and "Dr Dolittle 2," all of which are out on at least 500-print releases. Although up against these heavy-weights, the film also claimed 9.2% of the German market. Prokino intends to broaden its reach in the weeks ahead, for this is the best launch for a French film in Germany since "Asterix and Obelix versus Caesar." It is ahead of "The Crimson Rivers" by Mathieu Kassovitz, which launched with 155,000 admissions and went on to reach 750,000. Before encountering success with audiences, Amelie had already been hailed by the German media, who were unanimous in their praise: "an irresistible film" (Die Zeit); "without a doubt the best film of the year!" (TAZ); "a magnificent comedy overflowing with ideas that leaves everyone feeling happy" (Freundin); "you can’t help but instantly fall in love with this cinematic marvel that makes you leave the theater drunk with joy – so you can buy a ticket for the next session. Appreciation: 101%"(TZ). The Tagesspiegel (Berlin), says, "Amelie captivates the world. She’s as refined as she is melancholic, and all of France loves her for it. Sensationally successful across the Rhine, the film has now hit our screens and has us believing in miracles. Intoxicated, we let ourselves go, the way we do when in love, or feeling crazy. Let’s call it: Amelie-mad”. When it comes to the Berliner Kurier, it states, "A jewel from France of almost superhuman splendor. A must for all those who like to leave the theater dancing, singing and dreaming." Focus deems Amelie to be a "magical work considered to be one of the best examples of new popular French cinema”. Elle considers the film to be “the best remedy for the woman who needs fairy tales in her life,” while Brigitte feels that “to discover all the film’s riches, one viewing is not enough. When leaving the theater, don’t hesitate to buy another ticket." TV Movie is spellbound by “a film filled with lovely images of Paris, a sharp sense of humor, a huge commercial success in France – and that’s just to begin with!” Treffpunkt Kino says that it’s “impossible to not fall in love with Audrey Tautou. Amelie from Montmartre’s star has already bewitched the whole of France. The rest of the world will follow…” And to top it all off, Die Woche has this to say: “German cinema: Yech? French cinema: Wow! "Amelie from Montmartre" is the proof.”
