“Riefenstahl, born in 1902 and alive at this writing in fall 1999, presents an extremely problematic case — an artist of unparalleled gifts, a woman in an industry dominated by men, one of the great formalists of the cinema on a par with Eisenstein or Welles whose two major works were funded by, and intended to glorify, the Nazis. Triumph of the Will (1935), a deification of Hitler…Granted the dream of every filmmaker — an unlimited budget — to photograph the annual Nazi Party rally of 1934, she created Triumph of the Will, an inestimable propaganda tool in building the myth of Hitler-as-savior…”