Manhattan is in many ways a continuation of Annie Hall. Not of the story, but of the idea. Woody Allen, however, restrains his hero this time. Isaac is nowhere near as witty and omniscient as Alvy Singer. And what's more! The script brings him together with a woman, Mary (Diane Keaton), who is wittier, who has a sharper tongue. And what is particularly touching about this film is that its hesitant characters, trained on various analytics, are full of emotion. And it's not easy for them to cope. The use of a wide screen is also extremely exciting. While the narrower screen kept the characters together, the wide open space allows them to creep in and out of the picture during painful scenes. Surprisingly, this makes everything a little more dramatic. (Don't worry, Gershwin's music helps you through.) Manhattan is Woody Allen's beautiful, emotional meditation on the altered state of consciousness called love. And it bears little resemblance to the romantic comedies of our time, whose beginning, end and stakes are love itself. Instead, we can consider that love, break-ups, betrayals, reunions and so on are all part of a larger game - life.

In English, with Hungarian subtitles.
The discussions before and after the screening will be conducted in Hungarian.

Presented by: Müpa Budapest