Ferry to sunset, skyscrapers to streets, a love letter to urban dynamism.

Manhatta (1921), a collaboration between photographer Paul Strand and painter Charles Sheeler, abandons traditional narrative structure, instead presenting a series of 65 carefully composed shots that capture the dynamism and energy of New York City.

The camerawork in Manhatta is equally innovative. Static shots and slow pans emphasize the city's geometric forms, transforming bustling streets and towering skyscrapers into abstract compositions.

This focus on visual language, along with the film's lack of a conventional plot, reflects the core principles of experimental film: a rejection of traditional storytelling in favor of exploring the unique visual and artistic potential of the medium.

Manhatta's groundbreaking approach paved the way for future generations of American filmmakers to push the boundaries of cinematic expression. Its influence can be seen in works that prioritize visual experimentation and a non-narrative exploration of urban landscapes.