The weird thing about Ophuls is that because of his background, he started making films in Germany, then went to America, then ended up in France, so you have examples from all three phases that are probably equally good. I'm not hugely familiar with his German stuff, but La Ronde and The Earrings of Madame De... are total classics--he's very fond of a large cast and interlocking stories that go around in a loop, making him like an elegant European precursor to Altman. In the U.S. he mainly did weird little Films Noir like Caught, and that's also got its own appeal--the appeal of seeing somebody slumming hard, like watching frickin' Fritz Lang make movies about cops and gangsters and losers on the run. His stuff is very interior and psychological, too, comparatively; he's less interested in the corruption of the system than in the ways people lie to themselves and others.