Leni Riefenstahl’s autobiography; long and complicated and about much more than
her work in film. She succeeded as a woman in a man’s world, at a time when
there were hardly any woman filmmakers. And she lived to see her work (“Das
blaue Licht”, “Triumph des Willens”, “Olympia”) seen and studied all over the
world. You can’t take a course in film aesthetic without encountering these.
Stephan Chodorov
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