Baci rubati / Stolen Kisses
A free interpretation in the manner of Charles Trenet’s “Que reste-t-il de nos amours?”, the lm is impressed with the dandy spirit of 1968, one that crumbles gender conventions. Truffaut makes the lm, he says, distracted by the Langlois a air and instead the extravagant, anarchic, surreal trajectory with touches of Balzac and autobiographical notes leads straight to May and its reflection: the Cinémathèqué.