This chapter discusses four famous movies of André Téchiné. It begins with Hôtel des Amériques (1981), the opening sequence of which announces new departures in Téchiné's cinema. Téchiné establishes a rhythm of light and dark in the film that maps the progress of the love affair. Despite this realism, the universe of Hôtel des Amériques is mental as well as social. The second movie discussed in the chapter is Rendezvous (1985), which provides a very stark example of the twin elements of Téchiné's filmmaking: the evocation of real and of virtual or mental worlds. Rendez-vous reminds us of the persistence in Téchiné's work of notions of doubling and phantoms, of the virtual self or selves that always co-exist with the seemingly positioned self. Further, the chapter also discusses two other movies: J'embrasse pas (1991) and Les Voleurs (1996). Téchiné's combination of the melodramatic mode, defamiliarisation and polyglossia marks continuity in his movies.