In Midnight in Paris, two characteristics of Allen come together through the director's expression of love for modernist Paris and the expatriate artists who populated the city. By discussing a film that Allen never made, this chapter produces its own speculative fiction out of historical fact. Outlining the biographical details and historical connections Midnight in Paris leaves unilluminated by its nostalgic glow, the author argues that through its citation of modernist artists and their works, Midnight in Paris builds a model for remembering artistic lives — Allen's in particular. The film manages to ignore the anti-Semitism of several of its figures, thereby recuperating the good names of important artists whose bad views have rendered them politically and morally suspect. Through Allen's citational practice, love for bygone Paris transforms into love for the director, and the nostalgia the film generates for modernism morphs into nostalgia for Woody Allen.