Marcel Ophuls, director of 'The Sorrow and the Pity', dies aged 97
Marcel Ophuls, the acclaimed French-German documentary filmmaker whose probing explorations of history and memory helped shaped the genre for decades, has died at the age of 97.
His grandson, Andreas-Benjamin Seyfert, confirmed that he "died peacefully" on Saturday.
Ophuls' life and career focus was shaped enormously by his own experience of war and exile. Born in Frankfurt in 1927 to German-Jewish parents - actor Hilde Wall and celebrated director Max Ophuls - he was just six years old when the family were forced to flee due to the rise of the Nazi regime in 1933.
They found temporary refuge in France, only to be forced away again in 1940 as German forces advanced across Europe. They escaped across the Pyrenees into Spain, and eventually reached the United States in December 1941.
After finishing college in Los Angeles, Ophuls served in a U.S. Army theatrical unit in occupied Japan in 1946. In 1950, he returned to France and began his film career as an assistant to renowned directors Julien Duvivier and Anatole Litvak. After early forays into fiction, including the 1964 comedy-thriller hit Banana Peel starring Jeanne Moreau and Jean-Paul Belmondo, Ophuls turned to documentaries.
Ophuls' most renowned work, The Sorrow and the Pity (1969), was a groundbreaking documentary that questioned France's postwar narrative of noble resistance. Across four hours, the film focuses on the town of Clermont-Ferrand and pulls together a collection of interviews with Resistance fighters, collaborators, Nazi officers, and seemingly ordinary citizens to expose an uneasy truth: that complicity with the occupiers had permeated every level of French society, from local hairdressers to aristocrats.
The blow to national self-image was so profound that French television banned the documentary for more than a decade, refusing to air it until 1981.
While making pioneering waves in historical documentary circles, the film also left its mark on pop culture. In Annie Hall, Woody Allen famously uses the film as an unlikely first-date movie.
Ophuls continued to tackle the shadows of the 20th century. In 1988, he won the Academy Award for Best Documentary Feature for Hotel Terminus: The Life and Times of Klaus Barbie, a chilling investigation into the Nazi war criminal known as the "Butcher of Lyon."
In later years, he remained outspoken on political issues, turning his attention to the Israeli-Palestinian conflict. In 2014, he began crowdfunding Unpleasant Truths, a documentary co-directed with Israeli filmmaker Eyal Sivan that sought to explore the Israeli occupation of Palestinian territories and the rise of antisemitism and Islamophobia in Europe.
Initially conceived as a collaboration with French New Wave pioneer Jean-Luc Godard - who later withdrew but appears briefly in the film - the project was ultimately stalled by financial and legal complications and remains unfinished.
Anything you can think of, we bet it has a day dedicated to it. For example, today is —checks notes — National Blueberry Cheesecake Day and World Dracula Day. Indeed, most are dubious in origin and officialdom — but admittedly quite handy if you've been looking for an excuse to eat cheesecake in a cape.
They're also a good excuse to share some themed suggestions, and although World Goth Day and International Museum Day have now passed, angsty art and zany curations live on forever.
And speaking of zany — this week's Agenda is markedly so, with a UK cheese rolling contest taking place today, and Wes Anderson's new film The Phoenician Scheme beginning its own rollout across cinemas. Providing balance is the wistful photography of filmmaker Wim Wenders, and a rousing group exhibition in London that explores memory, belonging and place.
But if you're just here to party, Lyon is calling with its umph umph umph annual electro takeover at Nuits Sonores. Unfortunately, we're not that cool — so will likely be watching And just Like That... while pretending it's World Eat A Large Pizza In Bed Day, or something.
Lastly, if you're still debating seeing Mission: Impossible - The Final Reckoning, check out our latest culture catch-up for critic David Mouriquand's thoughts.* (spoiler: He hated it.)
Here are this week's highlights.
Wim Wenders: Nearby and Far Away. Photography
Where: Galerie Bastian (Berlin, Germany)
When: Until 26 July 2025
The German filmmaker behind classics like Paris, Texas and Wings of Desire, Wim Wenders has always had an incredible ability to capture the echoing expanse of human dreams. Richly metaphorical and quietly revelatory, his films transform people and places into moving poetry. It's a quality that's visible in his photography, too. On display at Berlin's Galerie Bastian, his series of snapshots taken across China depict the sweeping shapes and static figures of distant landscapes. For fans of Wenders' work, it's a must-see — with a major retrospective of his photography set to follow at the Bundeskunsthalle in August 2025.
Finding My Blue Sky (A group show curated by Dr Omar Kholeif)
Where: Lisson Gallery (London, UK)
When: 30 May – 26 July 2025
Ahead of London Gallery Weekend (6-8 June), the prestigious Lisson Gallery is bringing over 20 artists together for a major new multimedia group exhibition, which spans both its Bell Street and Lisson Street spaces. Those involved include British artist Lubaina Himid, Nigerian visual artist Otobong Nkanga, and Lebanese painter and sculptor, Huguette Caland. Together, they have created a diverse and emotive ode to London that explores personal entwinements with places — how we shape them, and they, in turn, shape us.
Bonus head's up: British virtual band Gorillaz have announced a new immersive exhibition titled 'House of Kong', set to open in August in London. Tickets are available now and likely to sell fast — don't be left On Melancholy Hill!
Gloucestershire Cheese Rolling Festival
Where: Cooper's Hill (Gloucestershire, UK)
When: 26 May 2025
A whole day dedicated to cheese rolling? You'd feta believe it! Although the cheese of choice is actually a chunky wheel of Double Gloucester. This kooky annual event has been taking place since roughly 1826 — although the exact origins are murky and thought to date back even further. Hosted on Coopers Hill in the English county of Gloucestershire, participants must race to catch their cheeses — no easy feat when the wheels can reach speeds of up to 70mph. The first race begins at 12pm BST (1pm CEST), and to all those rolling with their homies: Gouda luck.
Nuits Sonores 'Nights of Sound' Festival
A post shared by Nuits sonores (@nuits_sonores)
Where: Lyon, France
When: 28 May - 1 June 2025
One of the biggest electro-music events in France, Nuits Sonores takes place across the vibrant city of Lyon for five days every year. From English trip hoppers Massive Attack, to American DJ Honey Dijon, to French electro duo Cassius and techno icon Jeff Mills — the line-up is well and truly stacked. Most of the major events will be held at Les Grandes Locos in the day, and La Sucrière at night, both former industrial spaces-turned cultural beacons. Grab your bucket hats and pour yourself a strong coffee — it's gonna be a late one.
The Phoenician Scheme
Where: UK cinemas
When: 30 May (with a wider theatrical release 6 June)
Fresh off the Cannes Film Festival circuit is Wes Anderson's latest confection, starring (as usual) an all-star ensemble that includes regulars Scarlett Johansson, Bill Murray and Benedict Cumberbatch. Set in the 1950s, we follow suave businessman Zsa-zsa Korda (Benicio del Toro) and his trainee nun daughter, Sister Liesl (Mia Threapleton) as they try to secure investments for a fictional place called Phoenicia — all while dodging a band of eccentric tycoons. Lots of pastel, perfectly poised mischief ensues in this frenetic family adventure, which will either delight Anderson fans — or exhaust them.
And Just Like That… (Season 3)
Where: Sky and NOW
When: 30 May 2025
As a new season of the Sex and the City spin-off returns, I couldn't help but wonder: Why? That's a lie, actually — cringeworthy as the show is, it's also frustratingly addictive. Continuing to follow the lives of Carrie (Sarah Jessica Parker), Miranda (Cynthia Nixon) and Charlotte (Kristin Davis) as they navigate their 50s alongside a host of new characters, it's got about as much substance as a Manolo Blahnik shoe. But fans know what they're in for here. And even if we're still reeling over that stupid season 2 ending in which Aidan asked Carrie to wait five years for him (as if!), the show's familiar template and superficial sheen encourage your brain to happily melt.
Miley Cyrus: Something Beautiful
When: 30 May 2025
In the nearly 20 years since her breakout role as teen pop idol Hannah Montana, Miley Cyrus has done everything to break free from her Disneyfication. Giant wrecking balls were straddled, and twerking routines performed. But through the struggle of growing up in the limelight, Miley emerged as an artist whose strength is in constantly evolving — and those powerhouse vocals. Following 'Endless Summer Vacation', from which 'Flowers' became Spotify's most-streamed song of 2023, she returns with her eighth output: 'Something Beautiful'. Inspired by Pink Floyd's groundbreaking concept album 'The Wall', Miley has also produced and directed a companion film, set to be released some time in June.
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Though the set design did recall Anderson's debut show at Loewe, which featured precisely poured concrete blocks as seats. At Dior, the audience sat on precise plywood blocks, on a plywood floor, under a high ceiling entirely made of illuminated squares. Even since he began teasing on social media his new era at Dior, it's been a respectful homage to classicism. Just like this collection, even if he also managed to turn the whole codes upside down. Somewhat eccentrically, a pre-show French speaker recounted - at length - exact cuts, darts, shapes and fabrics of Dior looks, which turned out to be indie director and French heartthrob, Louis Garrel reading from the memoir "Dior and I". Garrel, whose mop hair appears have been the inspiration for all the models hairstyle, joined Louvre director Laurence Descartes, Roger Federer, Robert Pattinson, Daniel Craig and Rihanna, in the front row. In teases and in the show, Jonathan also played on Monsieur Dior's great affection for British taste with an opening Instagram post of a blue shirt fabric with a pin for Dior. Putting that online in mid-April six weeks before his appointment was official. Posting all manner of hints from a tape measure curled into a thimble to look like a snail on huge leaf, to an embroidered Louis XIV chair, he personally redesigned. Anderson – who will direct menswear, women's wear and couture at Dior - restored the house's dove gray logo, and replaced the all capital Dior, with just the "D" capitalized. Seen at the entrance to the huge show tent, over a giant illustration of Dior's neo-classical salon on Avenue Montaigne, which witnessed the birth of the house, and the legendary New Look on February 12, 1947. Which segued into two works of fine art – oil paintings by J.B.S. Chardin of a vase full of flowers, or a plate of raspberries – that hung inside the show. Both lent for the show by the Louvre, and much admired by LVMH CEO, and Anderson's ultimate boss, French billionaire, Bernard Arnault, who studied them carefully. As did Jonathan's proud parents, his rugby playing father and one-time captain of the Irish national rugby team Willie, and his elegant schoolteacher mum, Heather. See catwalk Post show, when asked his thoughts on the show, Arnault told 'It was, frankly, magnifique!' Though perhaps the most chatter this fashion sea change inspired by Anderson's idiosyncratic invitation – a ceramic white plate with three ceramic eggs. Like the solid stools, there was a sense of reassurance. Back when Jonathan was a teen growing up in the outskirts of the small town of Magherafelt in County Derry, his first teenage job was gathering eggs from a local farm. 'Next thing you know, we came back home and there was a sign, 'eggs for sale.' Jonathan has always been an incredibly hard worker. He puts his head down and never stops. But he is still the same person we knew when he left Northern Ireland. And we like that,' said his proud dad.
