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It represents Bijeli pakao Piz Palüa (1929)
Scenario
It explores the artistic legacy of Leni Riefenstahl and her complex ties to the Nazi regime, juxtaposing her self-portrait with evidence suggesting an awareness of the regime’s atrocities. An informative documentary by Andres VEIEL, which again discusses the notorious director Leni RIEFENSTAHL (1902 – 2003), who achieved great success during the Nazi period (2016). At the instigation of TV presenter Sandra MAISCHBERGER, who interviewed Leni RIEFENSTAHL on the day of her 100th birthday, he now again dealt with the life of the controversial director.
In Germany, the film was shown in 1993 on the then very ambitious private news channel VOX
He managed to make a scary movie, but it draws heavily from Ray MÜLLER’s LENI RIEFENSTAHL: DIE MACHT DER BILDER. German director Ray MÜLLER published his interview with RIEFENSTAHL already in 1993 and even won an INTERNATIONAL EMMY AWARD for it. In an interview with Ray MÜLLER, RIEFENSTAHL revealed herself as a spirited repression artist who used every option, from crying and flirting to malicious aggression, to deny her responsibility.
VEIEL has nothing to add to MÜLLER’s findings
Now, however, he has access to footage from RIEFENSTAHL’s estate, which further deepens the knowledge gained already in 1993. Her participation in the murder of Jewish extras in Poland shortly after the beginning of World War II is very clear. On the other hand, the images from RIEFENSTAHL’s photo expeditions to the fighting Nuba tribe in Sudan are unintentionally comical.
In her entire life, nothing was left to chance
The director poses with tribal children next to cartons of Persil (detergent) and cans of Kaba (cocoa powder) to advertise her generous sponsors. This woman always knew exactly what she was doing or not doing. The film VEIEL was credited with providing a psychological profile of a repressive Third Reich criminal accomplice in RIEFENSTAHL.
Ray MÜLLER’s DIE MACHT DER BILDER (1993) should by no means be forgotten
By all means, this woman managed to keep telling her own lies until she internalized them as truths. Again, such people are highly modern, which is why a film like RIEFENSTAHL is needed! The real pioneering work was done by MÜLLER and not by MAISCHBERGER / VEIEL.
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