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One of his worst experiences was with French film director Claude Lanzmann who was “hugely intrusively involved” in the translation of his 2012 memoir The Patagonian Hare.

The film is centered on an event from Lanzmann’s past, one that he already unfolded in detail in his autobiography, “The Patagonian Hare.”

In “The Patagonian Hare,” he describes the search for Holocaust survivors to interview in “Shoah” as a sort of casting: he sought people of strong presence, whose discussions of their own lives were something of a performance that would prove dramatically effective.

“The Karski Report,” “The Last of the Unjust,” and “Shoah: The Four Sisters”; and my reviews of his autobiography, “The Patagonian Hare,” and his collection of writings, “La Tombe du Divin Plongeur.”

The first words of his 2009 autobiography, “The Patagonian Hare,” are “The guillotine”; the first chapter is devoted to the litany of victims and executioners whose stories have occupied his life and filled his imagination, and the story of his life involves bold action and dangerous adventure that long preceded—and are inseparable from—his work as a filmmaker.