Love on the Run (François Truffaut, 1979)
The misadventures of Antoine Doinel are resolved as a kind of giddy melodrama. Clips from the previous four films make up his memories.
Maybe because the middle chapters were a tad under-nourished or maybe because the resolution is kept low-key and the ever-self-involved Doinel isn't forced to endure any kind of warmed-over epiphany, people lost their patience and the final of the series has the lowest reputation of the five. But in truth, it's the densest, most honest and subtly heartbreaking since The 400 Blows.
With the weathered casualty of a parent who has learned to swallow the pain and make the best of constant disappointment, Truffaut excavates and re-buries Doinel's erratic demons. He looks into the roots of his alter-ego's instability as a husband and father, and though he doesn't by any means justify it, he comes to terms with it.
He does finally allow Doinel a happy reunion of sorts, with a kiss and a pop tune. But seconds before the credits roll, there is a flash of an uncharacteristically joyous moment from Antoine's soon to be stunted childhood. It's enough to bring across the life-altering hurt of the myriad flippantly tossed aside but nevertheless searing tragedies that have compromised this 'happy' ending.