Tagline: The eye sees more than the heart knows.
Logline: An affluent couple seem to have everything, but both have secrets concealed from
one another.
A married couple appear to have all the trappings of
wealth, success and happiness, but both Amelia and Michael have secrets from each other.
Michael drops off Amelia for lunch, but once the car is out
of sight, Amelia removes her wedding ring and travels to an alternative destination.
Michael, however, appears the perfect husband, organising a romantic dinner. But things
are not always as they first appear. Amelia goes again to her secret destination: a
hospital, where she is visiting a Lover who has been paralysed in a motorbike accident.
Michael’s dinner is with a Call-Girl. After she has left his hotel room, he tries to
sleep but can’t and is disturbed by a phone call from his work colleague Francis who
has discovered his whereabouts.
Amelia uncovers evidence of Michael’s duplicity, but
before she can act, the phone rings. She rushes to the hospital, but arrives to find her
Lover has already died. Amelia returns to find Michael in the kitchen, who mistakenly
assumes his infidelity is the cause of Amelia’s distress. He tries to explain but she
silences him.
Amelia and Michael sit in the car in silence. A motorbike
stops next to them; an incidental detail of the opening scene which now acquires a
poignant and arresting meaning - representing the lost vitality of youth and love. AMELIA
AND MICHAEL addresses the discrete, multi-faceted and often contradictory personas people
present to each other and asks whether it is possible to truly know another person or even
yourself.
