Baltic Pearl Festival Screens Controversial Film on German Director Lenny Rifenstal

the Enduring Enigma: Lenny rifenstall and the Beauty of Dictatorship

The Venice Film Festival recently hosted Andrés Fajel’s documentary “Rifenstall,” a film​ that critics have hailed as “a stinging and exciting exposure.”​ This timely film revisits the fascinating and controversial figure of ‌Lenny‍ Rifenstall, an acclaimed filmmaker whose​ career is inextricably⁤ entwined with the rise and fall⁢ of Nazi Germany. In 1938, rifenstall captured the world’s attention when she won the prestigious prize at the⁣ Venice Film Festival ⁤for her masterpiece, ​”Olympia.” Eighty-six years later,⁤ she returns to Venice,‍ not as‍ a triumphant director but as a subject of intense scrutiny and debate.

Fajel’s‌ film delves into ‍Rifenstall’s complex legacy, utilizing a⁤ trove of unprecedented materials. The director had exclusive access to Rifenstall’s meticulously preserved personal archive, including thousands of letters, photographs, and diaries. These intimate glimpses ⁣into her‍ life offer a nuanced portrait of a woman ⁣grappling with her own past ⁤and​ striving to reclaim her narrative.

Quentin Tarantino,‌ a prominent figure in the film world, ‌has described ‍Rifenstall⁣ as “an outstanding⁢ innovator, one of ‌the most powerful documentary cinema authors” ‍of her time. However, her ⁤reputation has been deeply tarnished by ⁣her association with the Nazi regime. Susan Zontag, in her controversial essay ‍”Charm,” accuses ⁢Rifenstall of being a propagator of Nazi ideology. This ⁣clash of perspectives ​fuels the ongoing debate surrounding Rifenstall’s legacy, ⁣leaving viewers to grapple⁢ with⁢ the question: who is the ⁢real Lenny Rifenstall?

Rifenstall’s films, particularly “Will triumph” (1935) and “Olympia” (1938), are undeniably cinematic masterpieces. She was captivated by the grandeur and ceremonies of Nazi gatherings, and her films captured this spectacle with stunning beauty. Yet,‌ how can we reconcile​ this artistic brilliance with the undeniably ‍sinister backdrop of a ⁤totalitarian regime?

“Of course, it was ⁢the ⁢main thesis of Rifenstall herself,” Zontag writes, adding with acerbic wit, “In‌ liberal societies outside the law, the acquisition of persons proclaimed is gradual and slipping.” This raises a‌ crucial question: is ⁢Rifenstall a calculated careerist who exploited the rise of‌ Nazism for her own gain, or was‍ she a victim of her time, seduced by the ⁢allure of power and ultimately consumed by it?

jonas Mekkas, an avant-garde filmmaker, encapsulates the complex nature of Rifenstall’s work: “You will see idealism ⁢in the movies; if you are ⁢a ‌classicist, you⁢ will‌ see mosquito classicism; if you are a Nazi, you⁢ will see Nazism in them.” The film “Rifenstall” forces us to confront the troubling reality that art can be both beautiful and risky, capable of both inspiring ⁢and​ corrupting.

The⁣ film industry is grappling with this dilemma in a time when the aesthetics and ideology ⁢of totalitarianism are once again gaining traction. “Rifenstall” serves as a ‍stark reminder⁣ of the need for critical engagement‍ with art and its relationship to power. The film leaves viewers with a powerful question that resonates long after the credits roll: how do we reconcile the genius of the artist with ​the ⁤darkness of⁢ the times in which they lived?

Rifenstall’s story will be further explored on March 15th at the Splendid‌ Palace cinema during the Baltic Movie Festival, which will showcase the documentary ‌within ‌its “The fascination of⁢ evil. The triumph of Lenny Rifenstall” program.