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Riefenstahl è il documentario scritto e diretto da Andres Veiel sulla storia di Leni Riefenstahl, artista e propagandista del regime nazista, considerata una delle donne più controverse del XX secolo, presentato Fuori Concorso alla 81.ma Mostra Internazionale d'Arte Cinematografica della Biennale di Venezia. Ecco la nostra intervista al regista.
Trascrizione
00:00La cosa più interessante del film secondo me è il lavoro di ricerca.
00:06Qual è stato il criterio di scelta nell'immensa mole di materiale che avete trovato?
00:12First of all the question regarding the research was what is new?
00:18What I don't know yet and meaning to go very deep into the footage, into the findings of let's say 50,000 photos.
00:30Of course there were many of these photos never published and where do we get a deeper insight into her character,
00:39into her biography, into a story of somebody who became a fascist when she was 30 something.
00:47But you can follow up the roots why she became a fascist, the genesis of becoming a fascist.
00:55And you find many traces in her childhood regarding the violence of her father, regarding a very strict education.
01:06She was thrown into the water and then learned swimming.
01:10But she was drowning in fact.
01:12So I don't want to discharge her, to exonerate her or even apologize her by looking she had a hard fate.
01:23But I think the understanding for me was so necessary to find a very intimate approach.
01:30to find an insight of a character who became the most effective propagandist of a Nazi regime.
01:40And the escape was a treasure box.
01:42From a personal perspective, how did you approach yourself to a character who became the most negative appearance and
01:52find a sense, a motivation?
01:56Not a excuse, but a motivation.
01:58First of all, it was like a very hard digging into a person which I personally don't like.
02:07This is always a challenge because I like people to make films on people whom I love, who inspire me.
02:15And the challenge was in fact, she was somebody who was not inspiring me at all.
02:23Because all of her sermon, the repetition of her legends, it didn't gave me so much.
02:30But the challenging point and the reward, the reward in fact was to look behind the moral question of lies.
02:40To see what is the necessity of somebody who creates legends.
02:46And this is a very topic issue.
02:50You can look at politicians, you can look at people all over who recreate their legends, their truth, which is a lie.
03:03But people have a necessity to follow these lies.
03:06And these lies became a truth in the very end.
03:10And so Riefenstahl helps me to understand the pressure, the presence, much better than anybody else.
03:18It's a magnifier of reality.
03:20It's in a way Riefenstahl speaks to us from the future.
03:25The film has had a very long gestation.
03:28I'm referring to the last thing she said about the fact that this story speaks to the present.
03:34How has the film changed in the course of time?
03:37Especially related to what happened in the world, in Europe, in the Mediterranean, in the last year?
03:45First of all, I considered, from the beginning, I thought she was just opportunistic.
03:53And she wanted to make the films.
03:57It doesn't matter if for Hitler or for Stalin.
04:00But then I discovered something in the 1950s, 1960s, 1970s and 80s.
04:12So the post-war period that she still remained with the ideology of the Nazi period.
04:23When you look at the photos of the new bar, they are celebrating the strong, young, erotic women and men.
04:33And you don't see sick people.
04:37You don't see people close to death.
04:41So the ideology of fascism was present.
04:47And she was convinced to celebrate these elements of the fascist aesthetic.
04:54And the interesting point behind, and that makes it so present,
04:59it's the contempt of the weak, of the sickness of people who are strange and foreigners.
05:07And that's the dangerous, the dark part of this, the ideology.
05:13And for me, Riefenstahl is in the continuity, in the permanence of the aesthetic so dangerous.
05:23Because when you look to Russia, when you look at the parades in Moscow,
05:29you have Putin, low ankle shots.
05:32You have the soldiers willing to fight.
05:35And you have a Trump who says,
05:39listen, migrants are spoiling, are destroying the American blood.
05:44It's a fascist ideologist.
05:46And so to see how present all these elements of Riefenstahl are today in the media,
05:55and nobody or I, many people are not questioning it anymore.
06:01And they just have a longing for this ideology.
06:05And this is scaring for me.
06:08So Riefenstahl is a role model or even a magnifier of the necessity of the longing for a fascist ideology.
06:15And it's more and more common all over.
06:19You are in the right place now.
06:21Yeah.
06:22The film comes at the right moment.
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