Love at Twenty

Love at Twenty
Love at Twenty
	Film poster
Directed by	François Truffaut; Andrzej Wajda; Renzo Rossellini; Shintarō Ishihara; Marcel Ophüls;
Written by	Shintarô Ishihara; Marcel Ophüls; Renzo Rossellini; Yvon Samuel; Jerzy Stefan Stawiński; François Truffaut;
Produced by	Pierre Roustang
Starring	Jean-Pierre Léaud; Marie-France Pisier
Edited by	Claudine Bouché
Music by	Georges Delerue
Release date	22 June 1962;
Running time	120 minutes
Countries	France; Italy; Japan; Poland; West Germany;
Languages	French; Polish; Japanese; Italian; German;
Box office	264,508 admissions (France)

Love at Twenty (French: L'Amour à vingt ans, Japanese: 二十歳の恋, romanized: Hatachi no koi, Italian: L'amore a vent'anni, German: Liebe mit zwanzig, Polish: Miłość dwudziestolatków) is a 1962 French-produced omnibus project of Pierre Roustang, consisting of five segments, each with a different director from a different country. It was entered into the 12th Berlin International Film Festival.^[2]

The first segment, titled "Antoine and Colette", is by François Truffaut and returns actor Jean-Pierre Léaud to the role of Antoine Doinel, a role he played three years earlier in The 400 Blows and would return to again in 1968 (Stolen Kisses), 1970 (Bed and Board) and 1979 (Love on the Run). It concerns the frustrations of love for the now 17-year-old Doinel and the unresponsive girl he adores.^[3]

The second, titled "Rome", is the directorial debut of 21-year-old Renzo Rossellini, son of Roberto Rossellini and later a noted producer. It tells the story of a tough mistress who loses her lover to an older, wealthier and more appreciative woman.^[4]

The third, "Tokyo" by Japanese film director Shintarō Ishihara, has been described as a "weird, grotesque"^[3] and "clumsy"^[5] tale of obsessive and morbid love.

The fourth, "Munich", is by Marcel Ophüls and was described as a "charming, but somewhat sentimental"^[3] story of an unwed mother who contrives to trap her baby's father.

The fifth and final segment, "Warsaw" by Andrzej Wajda, depicts a brief intergenerational liaison based upon multiple misunderstandings.^[5] The episodes are tied together with still photos by Henri Cartier-Bresson and a wistful jazz soundtrack by Georges Delerue.

Truffaut's and Wajda's segments (the first and the last, respectively) are considered the highlights.^[6]