This year, the Berlin Film Festival is housing a retrospective that pays homage to a poignant cinematic achievement from four decades ago: Claude Lanzmann’s “Shoah.” This masterwork, sprawling near ten hours, is a profound exploration of the Holocaust, delving into the experiences of survivors, the silence of bystanders, and the chilling testimonies of perpetrators across fourteen different nations. The festival’s program is clear when it states that “Shoah” deliberately excludes historical footage, choosing instead to weave a narrative solely through the voices of those who lived through and witnessed unspeakable horrors. This unique approach reinvigorates the historical narrative by revisiting the sites of these atrocities and emphasizing the human connection to history.
In conjunction with the film’s anniversary, “All I Had Was Nothingness” (Je n’avais que le néant), directed by Guillaume Ribot, is premiering at the festival. This new film provides an intriguing lens on Lanzmann’s work, introducing a previously unseen moment that underscores the complex relationship some communities have with their past. In a striking scene, Lanzmann confronts the neighbors of a suspected war criminal, who reveal an unsettling apathy towards addressing their neighbor’s war-time actions. This poignant interaction raises difficult questions about collective guilt and the moral responsibilities of individuals in awakening stories that remain buried.
Recent developments affirm “Shoah’s” enduring impact. In 2023, it was added to the UNESCO Memory of the World Register, a recognition that solidifies its significance in global historical discourse. Ribot’s homage not only utilizes Lanzmann’s personal insights gleaned from his memoirs but also incorporates unreleased footage, effectively breathing new life into the original narrative. By focusing on Lanzmann’s unyielding determination to narrate the human struggle, Ribot’s film stands as a testament to the relentless quest for truth that defines “Shoah.”
Celebrating the centenary of Lanzmann’s birth also provides an opportunity to reflect on his multi-faceted life. Before his passing in 2018, Lanzmann left behind a legacy that extended beyond “Shoah.” His final documentary “Napalm,” which chronicles his unexpected romantic involvement during a visit to North Korea, exemplifies his expertise in capturing the nuanced, often complex layers of human experience. Lanzmann’s relationships with intellectual giants like Jean-Paul Sartre and Simone de Beauvoir further illuminate his importance in the narrative of modern thought and culture.
“Shoah” is universally acknowledged as one of the most remarkable documentaries ever created. The Berlin Film Festival aptly describes it as both “epic and intimate,” merging a comprehensive historical analysis with deeply personal narratives. It challenges us to confront hidden truths while simultaneously redefining the landscape of documentary filmmaking. As we revisit Lanzmann’s work at the Berlinale, we are reminded of the lasting power of cinema to illuminate, educate, and provoke essential conversations about humanity’s darkest chapters and the collective responsibility to remember them.
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