Andres Veiel’s latest documentary, Riefenstahl, takes a deep dive into the enigmatic life of Leni Riefenstahl, the controversial director known for her Nazi-era films Triumph of the Will and Olympia. Revered for her cinematic innovation and equally reviled for her association with Nazi propaganda, Riefenstahl remains a polarizing figure whose work continues to provoke debate over the intersection of art and ideology.
Leni Riefenstahl passed away in 2003 at the age of 101, yet her legacy as “Hitler’s favorite director” endures. She is often remembered for her groundbreaking films, Triumph of the Will—a documentation of the 1934 Nuremberg Nazi rally—and Olympia, which captured the 1936 Berlin Olympics. Her work is lauded for its technical brilliance but condemned for its glorification of Nazi ideology. The ongoing debate centers on whether her artistic genius can be separated from the pernicious political message her films propagated.
Veiel’s documentary, which premiered out of competition at the Venice Film Festival, attempts to break new ground by offering a psychological portrait of Riefenstahl. Veiel, who is known for his previous work Black Box BRD, explores Riefenstahl’s complex psyche and the dangerous allure of fascism that not only captivated Riefenstahl but also continues to resonate today. The film delves into her personal archives—comprising 700 boxes of diaries, correspondence, photos, and recordings—offering a fresh perspective on her life and beliefs.
“What we uncovered in her archives is strikingly relevant to the current political climate,” Veiel remarks. He points out that Riefenstahl’s fascination with heroic nationalism, the glorification of strength, and disdain for the weak mirrors the rise of modern right-wing movements not just in Germany, but across Europe and the United States. The documentary presents Riefenstahl as more than just an opportunistic artist; it portrays her as deeply ingrained in Nazi ideology, both aesthetically and ideologically.
Veiel’s film reveals Riefenstahl’s anti-Semitic leanings and her early admiration for Hitler. In one particularly damning discovery, Veiel uncovers an interview from 1934 in which Riefenstahl admits she was inspired by Hitler’s Mein Kampf as early as 1931, a claim she vehemently denied later in life. This evidence positions her as more than a mere bystander to Nazi ideology, instead highlighting her active participation in it.
Despite her controversial past, Riefenstahl showed little remorse after World War II. Through recordings and letters exchanged with figures like Albert Speer, Hitler’s architect and fellow Nazi artist, the documentary captures her lingering attachment to the old regime. Riefenstahl is portrayed as a figure who never fully disavowed her past, instead expressing regret only that her style and the ideology she once championed had fallen out of favor.
Riefenstahl’s post-war years were marked by a struggle to regain her footing in the film industry. Labeled as a Nazi sympathizer by the Allies, she found it difficult to secure directing opportunities. Yet, she continued to portray herself as a victim of history. A telling moment in the documentary shows Riefenstahl on a 1970s German talk show, where she tearfully denies knowledge of the Holocaust, maintaining her innocence. This performance won her public sympathy and led to a resurgence of her popularity, with many Germans embracing her narrative of victimhood.
This resurgence, Veiel argues, was indicative of a broader reluctance in post-war Germany to confront the full extent of complicity in Nazi crimes. Even in the 60s and 70s, many Germans were willing to absolve Riefenstahl, a fact Veiel finds deeply unsettling.
Riefenstahl’s work was celebrated well into her later years, with accolades from prominent figures in the film industry. The inaugural Telluride Film Festival honored her as a pioneering feminist filmmaker, and directors like Steven Soderbergh and Paul Verhoeven expressed interest in making biopics about her. However, Riefenstahl remained staunch in defending her version of history, even as evidence mounted against her.
Veiel’s documentary aims to dispel the myths surrounding Riefenstahl by providing a more nuanced and critical examination of her life. It sheds light on the enduring appeal of fascism and the ease with which individuals can be seduced by its promises of power and grandeur. By exploring Riefenstahl’s life, Veiel hopes to offer insights into the dangerous allure of authoritarianism—a topic that remains alarmingly relevant today.
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