Francois Truffaut isn't using his art to settle accounts -- he isn't Fellini, after all -- but just to tell fun little stories? I don't really actually know the point of Bed and Board (1970), aside from perhaps celebrating (or, hopefully, satirizing) fetishizing Japan. Bed and Board is an exercise in mild absurdism, like Stolen Kisses before it, and I love that, but it's a weird thing when we remember that the main character originated in The 400 Blows. But considering that Truffaut continually called the Doinel films semi-autobiographical, he's obviously having a little self-deprecating fun, and I'm fully down for that.
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