Doinel leaves the army at the age of 20. After failing to get Christine to love him, he continues his search for the perfect woman. He gets a job at a detective agency, where he fails any case that he is assigned to investigate.
He finally gets the opportunity to demonstrate his “technical fitness” by properly wrapping a shoebox in a store. Doinel must find out why the shop owner, Monsieur Tabard, feels that someone hates him, and if there is a conspiracy against him.
Somehow, staying at work later than usual, Doinel meets Fabien, Tabard’s wife, and enters into a love affair with her.
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Outside the window, the second half of the 60s: France is in a fever on the eve of the revolution, the Sorbonne is teeming with anarchist youths, De Gaulle is about to be scrapped, and Truffaut and Godard are experiencing a creative break. The wave of popular will covers all spheres of social life, “La Nouvelle Vague” splits into two parts and, in fact, ceases to exist as a phenomenon. For the sake of mossy intellectuals, the vast majority of French cinema is more and more like acute social satire, and the frivolous Truffaut intends to swim against the current here too.
“Stolen kisses” either mark the rejection of former ideals, or they are the very starting point from which it is customary to start the countdown. The director is no longer positioned as an author: in the direct creative process, the viewer gradually comes to the fore, and the usual noir is annoying, redundant and completely optional. The time of Doinel’s growing up came at the time of Truffaut’s creative refraction and, perhaps, that is why it is so painful.
Antoine gradually got to the volume of “Lilies of the Valley”, with the guarantee of the “scoundrels-socialists” he retired from the army (bonjour, monsieur Godard), and is now strenuously trying to find his cherished place under the sun. But excessive exaltation, lack of life experience and an incommensurable amount of spiritual aspirations, unfulfilled dreams and hopes, of course, prevent this in every possible way. Doinel is not that unlucky, he is just still a child, accustomed to taking everything on faith. Indeed, only a child could seriously believe that Felix’s feelings for Madame de Mortsauf could suddenly fade away like that.
A frivolous and capricious 20-year-old boy, holding Napoleonic plans in his mind and finding himself at a fateful crossroads in his life, will definitely try all directions, hit bumps on road poles, ignore the signs, and only after that he will settle down. L’amour non partage may contribute to some recklessness, but it will not be soon, but certainly not in time. Now Doinel tempers emotions, does not receive an answer to any of the six hundred letters, makes the life of those around him unbearably easy, like the son of Navkrata rushes to the main goal, not yet clearly outlining its contours and, being completely unsure of the correctness of the chosen vector, of course he endures failure. But what is failure for a windy fool, if life is full of unconquered peaks, love is in the air of Parisian streets, and Balzac is not such a faithful companion of spiritual affairs? Antoine will definitely go his way with his head held high, he just needs to learn to notice traffic lights from time to time.
Codec: HEVC / H.265 (72.9 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 1.66:1
French: DTS-HD Master Audio Mono
French: Dolby Digital Mono
French: Dolby Digital 2.0