The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

While it doesn't offer any answers, it both thrills and makes you think.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Poor Antoine (Jean-Pierre Léaud)... he stalks Collette (Marie-France Pisier) like any teenager follows a girl around. They keep bumping into each other, and he realizes she must live nearby. AND... they both appreciate music. She DOES string him along, and Antoine does everything he can to impress her and observe her every move. We watch as Antoine goes through the usual teen angst, trying to win over the woman he loves and hoping for the best. Truffaut had been in the business almost ten years when he made this, and one wonders if this was from his own life experiences; it WAS also written by him. Truffaut was nominated three times for Director and Writing... and sadly died young at 52. Did you notice Truffaut as "the French scientist" in Close Encounters ? One of the last roles he played as an actor. Antoine et Collette is pretty good. It's a bit dated, when they explain how records are made (records?? what are those ?) Showing on Turner Classics now and then. Pretty good. some sadness, like all good Truffaut films!

Antoine and Colette (1962)*** 1/2 (out of 4) This 30-minute short from Francois Truffaut was originally a part of the anthology film LOVE AT TWENTY but it got its own release since many considered it the stand out entry. It also serves as a sequel to THE 400 BLOWS as Antoine Doinel (Jean-Pierre Leaud) is now out of trouble, living and working and soon he finds himself falling for a woman named Colette (Marie-France Pisier). At first Antoine believes that the two are starting a good relationship but before long it's clear that the woman has a different mind set. I guess the simplest thing to say is that the ladies in France aren't much different than the ones in America when it comes to confusing a young man and breaking his heart. I really thought this was an extremely good film and a worthy follow-up to THE 400 BLOWS, which by many, not myself, think is the director's masterpiece. I really liked how Truffaut didn't just give us the same type of story and instead of the tense drama he treated us to quite a few sweet scenes that have a touch of bittersweetness to them. I think most adults watching this are going to realize what's going on with the "relationship" but the film also takes you back to the days of youth when being naive was just part of the game. Both Leaud and Pisier are excellent together and the two of them really shine in regards to their performances. The cinematography is excellent as you'd expect and there's no doubt that Truffaut handles the material with care.

I have been looking for a copy of "Stolen Kisses" for some time, and so I was glad I finally found it--or thought I'd found it. While my sole reason for wanting to see it was to see the Truffaut segment featuring the character "Antoine Doinel", I was VERY surprised to see a DVD with ONLY this 30 minute portion from the movie on it--along with a Truffaut short, Les Mistons! What about the segments from Love At Twenty by Ophuls and the other directors? They were nowhere to be seen on the FOX/Lorber DVD! The same can be said about the DVD extra for "The 400 Blows"--it has the Doinel short but none of the rest of the film. Quel dommage! Now, in regard to the Antoine Doinel segment, I was VERY glad I saw it, as it was the most interesting and endearing I ever saw the character. Doinel appeared in several other Truffaut full-length films and this small segment was the final one I needed to see to complete them. It was lighter in tone and "cute" compared to the other incarnations--much lighter than 400 blows or the other films that have a more wistful edge to them. You see a hopeful Doinel just reaching adulthood--a decent guy--just REALLY awkward with the ladies.

Truffaut's short film, made to pacify the curiosity eager fans of The 400 Blows as to the continuation of the lives of its disadvantaged characters, carries the same dry lack of emotion and still distances itself from us despite all its observation of and sympathy for the growing pains of Antoine Doinel. Though it is perhaps good that there is a distance kept because of its logical understanding of Antoine's experiences which leave him confused and painfully humbled.Jean-Pierre Leaud, who played Antoine in The 400 Blows, experiences the seemingly apocalyptic feeling of rejection, as Collette, the fixed object of his desire, has no interest in him regardless of all his efforts to entice her with frequent stopovers, invitations to concerts, and other woos. He even follows his self-assured friend's approach of writing letters, but with what appears to be no avail. Just as with The 400 Blows, we are left to ponder this perplexing phase in this character's life, causing us to reflect on our own painful memories of growing pains and the humility and self-doubt that accompanies it.