Paula Biren, Ruth Elias, Ada Lichtman, Hanna Marton: Four Jewish women, witnesses and survivors of the most insane and pitiless barbarism, and who, for that reason alone, but for many others also, deserve to be inscribed forever into the memory of humankind. What they have in common, beside the specific horrors to which each of them were subjected, is a searingly sharp, almost-physical intelligence, which rejects all pretence or faulty reasoning. In a word, idealism.

A powerful new film about Jan Karski, the Polish resistance figure who attempted to expose the Warsaw Ghetto and Belzec, and met with President Franklin D. Roosevelt and Supreme Court Justice Felix Frankfurter.

An interview with a WWII Red Cross official who wrote a glowing report on a Jewish ghetto-cum-death camp.

Forty years after the release of Claude Lanzmann’s monumental film Shoah, Guillaume Ribot reveals the director’s relentless pursuit to tell the untold, using only Lanzmann’s words and unseen footage from the masterpiece.

Delphine Seyrig répond avec réticence mais courtoisie et professionnalisme aux questions volontairement personnelles de Claude Lanzmann. Une interview rare, extraite du magazine télévisé Dim Dam Dom.

Using interviews and other footage shot especially for this documentary, French director Claude Lanzmann investigates the state of Israel in 1972. This movie concentrates on Israelis going about their business of everyday living.

“Napalm,” is said to be about North Korea. Those who’ve read Lanzmann’s autobiography, “The Patagonian Hare,” know what a distinctive and surprising role that country plays in Lanzmann’s life

Claude Lanzmann discusses the process of directing, writing, and producing his groundbreaking and influential documentary Shoah(1985).

The Hippocratic Oath (France, 2017, 89m)
Baluty (France, 2017, 64m)
The Merry Flea (France, 2017, 52m)
Noah’s Ark (France, 2017, 68m)
Since 1999, Claude Lanzmann has made several films that could be considered satellites of Shoah, comprised of interviews conducted in the 1970s that didn’t make it into the final, monumental work. He has just completed a series of four new films, built around four women from four different areas of Eastern Europe with four different destinies, each finding herself unexpectedly and improbably alive after war’s end: Ruth Elias from Ostravia, Czechoslovakia; Paula Biren from Lodz, Poland; Ada Lichtman from further south in Krakow; and Hannah Marton from Cluj, or Kolozsvár, in Transylvania. “What they have in common,” wrote Lanzmann, “apart from the specific horrors each one of them was subjected to, is their intelligence, an incisive, sharp and carnal intelligence that rejects all pretence and false reasons—in a word—idealism.” What is so remarkable about Lanzmann’s films is the way that they stay within the immediate present tense, where the absolute horror of the shoah is always happening.

Director Claude Lanzmann spent 11 years on this sprawling documentary about the Holocaust, conducting his own interviews and refusing to use a single frame of archival footage. Dividing Holocaust witnesses into three categories – survivors, bystanders, and perpetrators – Lanzmann presents testimonies from survivors of the Chelmno concentration camp, an Auschwitz escapee, and witnesses of the Warsaw Ghetto Uprising, as well as a chilling report of gas chambers from an SS officer at Treblinka.