Max par Marcel: Lola Montès

The daughter of a notorious smuggler is raised as a boy by her foster mother.

Filmmaker Marcel Ophuls investigates the massacre of My Lai by U.S. soldiers.

Shot over six weeks in December 1971, and January 1972, the film consisted of interviews with Protestants, Catholics, politicians, and some soldiers, combined with TV news clips of bombings and violence. The deaths of four individuals formed the central focus of the film, which Ophüls described as ‘an old, middle-aged, humanistic, social-democratic attempt to give people an idea that life after all is not that cheap’. The BBC refused to transmit the completed film on the grounds that it was ‘too pro-Irish’ (Sunday Times, 5 Nov. 1972). (via http://cain.ulst.ac.uk/othelem/media/docs/freespeech.htm)

Commissioned by French TV, Yorktown covers the bicentennial commemoration of the Siege of Yorktown, near the end of the American Revolutionary War, where the Americans and their French allies defeated the English. The festivities celebrating Franco-American friendship give Ophüls some amusement, as he takes a gleefully ironic look at the formally “friendly” meeting between Mitterand and Reagan, or exposes the absurdity of patriotic folklore.

A television documentary directed by Marcel Ophüls examining the Munich Conference of September 28, 1938, when European leaders met to avert the outbreak of war. Through archival documents and interviews, the film reconstructs the political atmosphere surrounding negotiations between Britain and France on one side and Nazi Germany and Fascist Italy on the other, situating the agreement within the broader context of European appeasement in the face of fascism.

An investigation into the nature, details and reasons for the collaboration, from 1940 to 1944, during World War II, between the Vichy regime, established in the south of France and headed by Marshal Pétain, and Nazi Germany.

New York comedian Alvy Singer falls in love with the ditsy Annie Hall.

Marcel Ophuls' riveting film details the heinous legacy of the Gestapo head dubbed "The Butcher of Lyon." Responsible for over 4,000 deaths in occupied France during World War II, Barbie would escape—with U.S. help—to South America in 1951, where he lived until a global manhunt led to his 1983 arrest and subsequent trial.

Lola Montes, previously a great adventuress, is reduced to being the attraction of a circus after having been the lover of various important men.

This exceptional, disturbing, and thought-provoking two-part documentary compares the atrocities committed by the Nazis as revealed during the Nuremberg trials to those committed by the French in Algeria and those done by the Americans in Vietnam. The four-hour epic questions the right of any country to pass self-righteous moral judgements upon the actions of another country.

Marcel Ophüls interviews various important Eastern European figures for their thoughts on the reunification of Germany and the fall of Communism.

Love at Twenty unites five directors from five different countries to present their different perspectives on what love really is at the age of 20. The episodes are united with the score of Georges Delerue and still photos of Henri Cartier-Bresson.

18 years after his last film, (The Troubles We've Seen), Marcel Ophuls emerges from retirement as one of our last masters, the most corrosive, the funniest as well. And the most forceful. The director of The Sorrow and the Pity shares with us stories of his exceptionally rich life in this light-hearted yet bitter escapade though the century and the movies. Son of the great Max Ophuls, he is generous in his admiration. We also meet Jeanne Moreau, Bertolt Brecht, Ernst Lubitsch, Otto Preminger, Woody Allen, Stanley Kubrick and of course François Truffaut. There are no great filmmakers without a memory, so here is the memory shop of Marcel Ophuls.

Two scoundrels cheat a millionaire out of a huge bankroll on the French Riviera.

We follow Marcel Ophuls' two journeys to Sarajevo in 1993. He is starting a documentary about war correspondants. But this also becomes a reflexion about truth and life. The form consists in many interviews of mostly French and American journalists and reporters of television or newspapers.

A segment of “Love at Twenty” is a story of an unwed mother who contrives to trap the father of her baby.