The film, created in 1925, tells the story of a Jewish family in interwar Romania. Manasse, the family patriarch, is a devout follower of Jewish traditions, which he tries to enforce upon the other family members. The conflict arises when Manasse's granddaughter decides to marry a young Orthodox Christian—a choice her parents and grandfather find inconceivable.

Fully restored by the National Film Archive, the film offers rare, historical glimpses of interwar Romania, featuring locations such as the streets of Fălticeni, Bucharest’s Calea Victoriei, and the iconic Gara de Nord. It also provides a portrayal of Romania’s Jewish community before World War II—a community that once played a significant role in Romanian society but has nearly vanished due to political events over the last 80 years. Produced before the advent of sound in cinema, Manasse employs intertitles to convey the dialogue, allowing audiences to follow the conversations between its characters.

DIRECTOR’S BIO: Jean Mihail (1896–1963) was one of Romania's most celebrated filmmakers and a true pioneer of early Romanian cinema. He began his career as an assistant on the film ?igănu?a de la iatac (1923), based on Radu Rosetti's novella. His second film, Manasse (1925), adapted from Ronetti Roman’s play of the same name, is among the few surviving works from the early days of Romanian cinema, preserved in the National Film Archive. The play was renowned for its outstanding performances, with Constantin Nottara and Gheorghe Cârjă in the title role on stage. In the film, Romald Bulfinski stars as Manasse, alongside Maria Ciucurescu, Ion Constantiniu, George Aurelian, Alexandru Fin?i, and Dorina Demetrescu.

Manasse stands out as a key work of Romania’s silent film era, notable for its storytelling, cinematography, rhythm, and performances. The film was shot on the stage of the Comedia Theatre (Bulandra Company), with sets, furniture, and props borrowed from the theater. Filming took place at night after performances and continued until morning rehearsals. Lighting relied on improvised and borrowed reflectors from Bucharest photography studios, which were returned each day. Jean Mihail was deeply involved in every aspect of production, even personally handling much of the actors’ makeup.