Word: riefenstahl
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Muller is able to ask intelligent questions about Riefenstahl's work because he himself is a director, but this common identity is also the cause of friction between the two. Riefenstahl is still serious about filmmaking, and she is an stubborn as any other director who has an artistic vision. Some of the more amusing parts of the film occur when Muller and Riefenstahl argue about he best way to make certain scenes work...
...Studios in Berlin, where many German silent films were made, a dispute flares up when Muller asks Riefenstahl to walk and talk at the same time. In another scene at Nuremberg, Riefenstahl grabs Muller's shoulders and shakes...
...most fascinating and disturbing part of the film is when Riefenstahl must face the questions raised by her association with, and work for, the Nazis. For this segment, Muller takes Riefenstahl back to the old Nazi parade grounds outside of Nuremberg...
...Although Riefenstahl was not a member of the National Socialist Party, she did make "Triumph of the Will." This has made her forever a pariah of the filmmaking world...
...Triumph of the Will," says Riefenstahl, is an artistic and not a political film; a documentary and not a propaganda film. Art, she says, is entirely separate from politics, and an artist is in no way responsible for the effect that his or her work has in its political context...