Marcel Ophüls

When the family returned to Paris in 1950 Marcel became an assistant to Julien Duvivier and Anatole Litvak, and worked on John Huston's Moulin Rouge (1952) and his father's Lola Montès (1955). Through François Truffaut, Ophuls got to direct an episode of the portmanteau film Love at Twenty (1962). There followed the commercial hit Banana Peel (1964), a detective film starring Jeanne Moreau and Jean-Paul Belmondo.

With a slump in box-office fortunes, Ophuls turned to television news reporting and a documentary on the Munich crisis of 1938: Munich (1967). He then embarked on his examination of France under Nazi occupation, The Sorrow and the Pity. Although he enjoyed making entertaining films, Ophuls became identified as a documentarian, using a characteristically sober interview style to resolve disparate experiences into a persuasive argument. A Sense of Loss (1972) looked at Northern Ireland, and The Memory of Justice (1973) was an ambitious comparison of US policy in Vietnam and the atrocities of the Nazis. Disagreements with his French backers over interpretation led Ophuls to smuggle a print to New York where it was shown privately. Legal wrangles left him disappointed and financially broke, and Ophuls turned to university lecturing.

In the mid-1970s, he began producing documentaries for CBS and ABC. His feature documentary Hotel Terminus: The Life and Times of Klaus Barbie (1988) won an Academy Award; since then he has made an interview film with two senior East German Communists, November Days (1992) and a ruminative look at how journalists cover war, The Trouble We've Seen (1994).

Every year the IDFA (International Documentary Festival) in Amsterdam screens an acclaimed filmmaker's ten favorite films. In 2007, Iranian filmmaker Maziar Bahari selected The Sorrow and the Pity for his top ten classics from the history of documentary. At the 65th Berlin International Film Festival in February 2015 Ophuls received the Berlinale Camera award for his life work.