This year, the Berlin Film Festival (Berlinale) is making waves by screening Claude Lanzmann’s landmark documentary “Shoah,” which first captivated audiences 40 years ago. With its nearly 10-hour runtime, “Shoah” presents a profound exploration of the Holocaust, featuring testimonies from survivors, bystanders, and perpetrators across 14 countries. Rather than relying on historical footage, Lanzmann ingeniously constructs a narrative that showcases the harrowing realities faced by Jewish victims through poignant interviews, allowing viewers a deeper understanding of this historical atrocity.
The significance of “Shoah” extends beyond its runtime; it’s a deeply immersive experience that “reincarnates” the trauma associated with the Holocaust. By revisiting the locations of the barbaric acts, Lanzmann invites the audience to confront uncomfortable truths, encouraging reflection rather than passive consumption of historical information. This emphasis on human testimony has set a benchmark for how documentary filmmakers approach their subjects, and its inclusion in Berlinale underscores the film’s lasting impact on both cinema and historical discourse.
In a compelling homage to Lanzmann’s work, the festival is also premiering “All I Had Was Nothingness” (Je n’avais que le néant), a film directed by Guillaume Ribot. This new documentary takes a retrospective approach, using Lanzmann’s own reflections as articulated in his memoirs, alongside previously unseen footage from the original documentary’s production. It enriches the existing narrative by highlighting a revealing moment—when Lanzmann confronted neighbors of a suspected war criminal who expressed their disinterest in acknowledging the dark deeds committed by their community during the war.
This encounter underscores a poignant theme of the original work: the struggle to confront uncomfortable truths and the reluctance many have in facing the horrifying realities of their pasts. Ribot’s film serves not only as an exploration of Lanzmann’s legacy but also as a reminder of the ongoing challenges surrounding remembrance and accountability.
In 2023, “Shoah” was recognized by UNESCO, being added to the Memory of the World Register—a testament to its historical and cultural significance. The Berlinale emphasizes the film’s monumental nature, describing it as a “triumph of form and content” that reveals hidden truths while redefining the realm of documentary filmmaking. This recognition speaks volumes about the film’s influence and the vital importance of documenting and discussing history, particularly events as traumatic and impactful as the Holocaust.
As Lanzmann would have celebrated his centenary this year, it is clear that his contributions to cinema and discourse on human rights continue to resonate. His work challenges viewers to engage with the past and confront their own complicity or ignorance regarding historical atrocities.
Lanzmann’s breadth as a filmmaker and intellectual, including his relationships with influential figures like Jean-Paul Sartre and Simone de Beauvoir, enriches the narrative surrounding “Shoah.” His final work, “Napalm,” further illustrates the complexity of human emotions and experiences, providing a nuanced understanding of love and conflict.
The Berlinale’s revival of “Shoah” alongside the premiere of “All I Had Was Nothingness” serves not only to honor Lanzmann’s legacy but also to stimulate important conversations about memory, history, and the ethical responsibility of documentary filmmaking. As society grapples with its past, works like “Shoah” remain vital, pushing audiences to acknowledge the histories that shape our present and future.