This article aims to reflect on the testamentary dimension of Max Ophüls’ last feature film, Lola Montès, from a research context that seeks to understand the thematic, narrative, and stylistic traits of film directors’ last films. Through a mobilisation of Gilles Deleuze’s concept of crystal image, and a film analysis of the work and comparison with other important Ophüls films, this paper argues that the constant movement of the characters and the filmmaker’s camera throughout his body of work is, in this testament film, transformed into an infernal circularity in which its protagonist is imprisoned. This movement without escape, based on the circularity of the circus arena in which Lola is held captive, is ultimately a way of portraying the decadence and exploitation of mass entertainment culture in its logic of capture, exploitation and commodification of its “human products.” The culmination of circularity and repetition in this capture is associated with the degradation of both the living performative body of Lola and the figure of its director Max Ophüls, given that Lola Montès was not only a very difficult film to direct but also very poorly received at the time of its release.
Carlos Natálio (2026) studied this question.