'Stolen Kisses', which Truffaut dedicated to the French Cinematheque and its leader Henri Langlois, became the 'second and a half' film of a kind of film series about the Parisian Antoine Doinel. The director systematically returned to the fate of this young man for 20 years, starting with '400 Blows' - the starting tape of the tetralogy (except for a short novel with the same hero 'Antoine and Colette' (1964), filmed by Truffaut for the international project 'Love in 20 years').
Antoine Doinel (who was invariably played by Jean-Pierre Leo, growing up with the hero) is demobilized from the army due to 'unstable character' (Truffaut himself was fired from the army for a similar reason). On the 'civilian', he meets his peer Christine Darbon and immediately falls in love with her. Having settled down to work in a detective agency, Doinel gets the task to follow Madame Tabar, in the direction of which he also begins to breathe unevenly.
Despite the significant difference in age, he sends her an ardent love letter in which he confesses his feelings. It is Madame Tabar who becomes for the infantile Antoine not only the embodiment of his love dreams, but in a sense, the mother. However, a protracted relationship with a socialite becomes very burdensome for a permanent man-child, and he decides to return to Christine ...
The airiness and musicality of the tape, tact and restraint, the spontaneity of editing and the impressionistic texture, the lyricism, as if transferred from an intimate diary - the qualities that each time determine the individuality of Truffaut's style, it is in Stolen Kisses that they acquire an indicative sound. The tape gained considerable fame both at home and abroad, receiving the Grand Prix of French cinema, the prizes of Georges Méliès and Louis Delluc, as well as the American Film Academy Award.