"I wish that my pupil could have understood me at this moment. I would have told him that his bite filled my soul with joy."

—Dr. Itard reflects upon his discovery of the feral boy's sense of justice in Truffaut's 1970 film.

The Wild Child, Francois Truffaut's fact-based tale of the discovery of a young feral boy at the turn of the 18th century and the subsequent attempts of an impassioned scientist to educate him, is a film both compelling and tender in its simplicity.

The film opens in a serene forest in France. The year is 1798. A lone, bonnet-clad woman collects fruit in the lush and peaceful surroundings when off to the side she hears a commotion emitting from some bushes. Startled, the woman drops her basket to the ground and flees. With the coast clear, a young boy emerges out from the shrubberies. Gangly, filthy, with long matted hair veiling his face, he runs naked and freely through the forest. The next day, hunters, with leashed dogs in tow, parade the forest paths, vehemently searching for the reported feral child. Upon hearing the clamor of the noisy pursuers, the boy quickly scurries, evading capture. However, when the hunters release their voracious hounds, he is forced up a tree to escape their clutches. Perched atop a branch above the barking dogs, the boy has a moment of respite before his ledge snaps and he plummets swiftly to the ground. As one of the dogs ferociously latches onto the boy's arm, he fights back vigorously and a spirited struggle ensues. It doesn't last long though, when with a whimper, the dog falls limp to the ground and the boy once again escapes. The hunters quickly regroup and, after a time, discover the boy again, this time cradled in a small hole in the ground. The hunters, experienced in their present trade, with a smoldering stick begin to smoke him out from his subterranean sanctuary. The ploy works, as after a few coughs, the exhausted fugitive finally surrenders.

"We meet, we work together, we love each other, and then...pfft...as soon as we grasp something, it's gone." 

— The aging actress Severine’s (played by Italian starlet Valentia Cortese) astute lament on the intangible nature of filmmaking resounds the yearning romance of all art in Francois Truffaut’s 1973 film, Day for Night.   

The title, La nuit américaine (literally: The American Night), refers to the process of filtering the camera to shoot a scene during the day to look as if it is, in fact, night. Known in America as Day for Night, the film centers around the shooting of a film entitled Je vous presente Pamela (Meet Pamela), a dramatic tragedy in which a young French wife falls in love with her husband’s father. Day for Night pays minimal attention to the film within itself however, and instead follows the cast and crew as they struggle through both the physical production as well as a flurry of interpersonal conflicts.