(Goodbye to) Manhattan
"Chapter One. He adored New York City," begins Woody Allen's 1979 Manhattan. "To him it was a metaphor for the decay of contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out . . ." Allen's line may be an allusion to suicide, but one less radical departure for New York creatives has been, traditionally, to move away. With seemingly exponential increase over the past decade, asylum seekers have turned not to Brooklyn but to Berlin, inaugurating in their wake a love-hate fantasy wherein the German capital is cast as a utopian center of artistic production, and New York as a place to sell, not to make––a sexy but commercial hell. The success of Ken Okiishi's film work (Goodbye to) Manhattan, 2010, is its dismantling of that bipolar fantasy, of which its protagonists are ostensibly a part.
(Goodbye to) Manhattan
"Chapter One. He adored New York City," begins Woody Allen's 1979 Manhattan. "To him it was a metaphor for the decay of contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out . . ." Allen's line may be an allusion to suicide, but one less radical departure for New York creatives has been, traditionally, to move away. With seemingly exponential increase over the past decade, asylum seekers have turned not to Brooklyn but to Berlin, inaugurating in their wake a love-hate fantasy wherein the German capital is cast as a utopian center of artistic production, and New York as a place to sell, not to make––a sexy but commercial hell. The success of Ken Okiishi's film work (Goodbye to) Manhattan, 2010, is its dismantling of that bipolar fantasy, of which its protagonists are ostensibly a part.
Creators and cast
- Directors
- Ken Okiishi
Maturity rating
Not yet rated.
Audio languages
English, German
Where to watch
Not currently listed on any streaming, rental or purchase service.
Details and artwork from TMDB. Availability from JustWatch and can change without notice.