Funny to see Amelie there as a counter-example - it's pretty much my favourite movie, and one of the things I love about it is the autumnal quality of the light. Normally I wouldn't notice that kind of thing at all, perhaps it's the contrast with all the orange-and-blues (or maybe just the exceptional loveliness of the film itself)
On the director's commentary, at 21:50, he talks about pushing the digital grading and that "sometimes it's a little bit too much." (But obviously he didn't tone it back!)
The teal-and-orange plague followed from DI[0]. Amélie predates the widespread use of DI, and DI's later compromission by the TaO plague. So it probably isn't the contrast, most of the movies from the time (and before it) would have similar non-TaO palettes (unless they were specifically going for it, as in Blade Runner)
It was DI'd, but it was created at the beginnings of DI. What I tried to express is that the excesses of a new format/technique/… don't instantly follow its introduction, there's a lag until a herd decides that's something to do. Same as the loudness wars: the Red Book was published in 1982 but excessive compressions started in earnest in the early-to-mid 90s blossoming into low single-digit dBFS by the end of the 90s-early 00s.
Amelie uses a lot of red and green. Jean-Pierre Jeunet made "City of Lost Children" which also has a strong red green palette. He also directed "Delicatessen" that used a chemical process to give the film a gold glow.
