The Complicated Legacy of Leni Riefenstahl
More than two decades after her passing, the German filmmaker Leni Riefenstahl continues to stir controversy and debate in the realm of film history. Renowned for her groundbreaking cinematic techniques, she directed two highly influential films that remain subjects of study for their artistic merit, despite their underlying propaganda for the Nazi regime. These films are “Triumph of the Will,” a visually arresting portrayal of the Nazi party’s 1934 rally in Nuremberg, and “Olympia,” which chronicles the 1936 Berlin Olympics.
In the aftermath of World War II, Riefenstahl was branded a follower of Nazism, going through four denazification proceedings. In her later years, she attempted to reshape her public persona, presenting herself as an apolitical artist. However, recent access to her estate—a trove of materials following her death in 2003 at the age of 101—has reignited discussions in Germany regarding how to address her political legacy and whether her postwar rehabilitation was based on misleading narratives.
Last week, the documentary “Riefenstahl,” directed by filmmaker Andres Veiel, premiered in German cinemas. This film utilizes newly uncovered recordings and letters from Riefenstahl’s estate to assert that she deliberately concealed her alignment with Nazi ideology. Additionally, at a recent symposium in Berlin, researchers unveiled findings from a comprehensive investigation into the impact of Riefenstahl’s photography of the Nuba people in Sudan, further complicating her legacy.
In a video interview, Veiel emphasized that the renewed examination of Riefenstahl’s life and work is warranted, especially in light of the discoveries made in her estate, which was donated in 2018 to the Prussian Cultural Heritage Foundation in Berlin. This extensive collection comprises approximately 700 boxes filled with film reels, photographs, audio recordings, and various other artifacts.
Veiel noted, “The material contradicts the foundational narrative, the legend that she had promoted to the outside world. Even in her later years, she remained a believer in Nazi ideology.”
Riefenstahl’s legacy, therefore, presents a complex tapestry of artistic innovation intertwined with troubling political affiliations, leaving filmmakers, historians, and audiences to grapple with the implications of her work and the message it conveyed.
