The aim of this article is to show the sylleptic character of Woody Allen's films. The author attempts to transplant the concept of the sylleptic subjectivity of literary science onto a ground of film science, blurring the line between the textual 'self' and real 'self'. Syllepsis is designed to constitute the strategy of self-presentation, which allows the author to get away from the explicit character of biographism and hide behind his hero who has many qualities of the author himself and at the same time is literally not his portrait. This strategy appears to be appropriate to the postmodern world in which the line between reality and fiction has faded away, however Allen's films can constitute its model example. This is confirmed by 'Annie Hall', 'Zelig', 'The Purple Rose of Cairo' or 'Deconstructing Harry'. Furthermore, syllepsis is also a model of the reception in which the author is read through the world represented in his works.