Shot in black-and-white anamorphic widescreen, Willis’ lushly radiant cinematography transforms 1979 New York into a dreamlike fantasy city, albeit one filled with neurotic, terminally unsatisfied characters playing endless rounds of romantic roundelay. Woody Allen’s bittersweet valentine to his island hometown presents a deliriously romantic vision of the city tempered by an underlying sense of loss and pessimism about the ultimate futility of human relationships, a duality beautifully underscored by Willis’ brilliant camerawork, most famously in Manhattan’s iconic shot of Allen and Diane Keaton dwarfed by the vast architecture of the 59th Street Bridge.