Ms. Riefenstahl is one of my favorite cinematic filmmakers ever!
Her amazing visually poetic non-narrative documentaries "Triumph of the Will" and "Olympia" are spectacular, huge, beautiful and powerful cinematic experiences. Her graceful moving camera shots, astounding epic compositions, and dynamic brilliant editing are all jaw-dropping, exhilirating examples of pure cinema.
As a person she was a lying opportunist and a propagandist for an evil dictator but as an artist she was sublime. The sensual pleasure, power, and beauty of her cinematic aesthetics are mind-blowing and timeless. I love her visual style, her huge scope and visual genius for creating unforgettable images of strength, grace, beauty, and form.
Before becoming "Hitler's filmmaker" she was a ballerina and her balletic sense of timing, rhythm, movement, and space never left her. She applied her aesthetics as a dancer to cinema and used them to create a new exciting autonomous art of the camera. She innovated with camera technology, long lenses, sophisticated tracking shots and dynamic rhythmic montage to create breathtaking documentaries like no others. I love how she uses slow-motion, dissolves, moving graphics, stark impressionistic lighting, inventive camera angles, and creative montage in her sensational works of art.
I would only dare compare "Man With The Movie Camera", BARAKA, and Slavko Vorkapich's montages to her work. She was a special, unique film artist and I will always gain inspiration and pleasure from her cinematic art.
I only wish she had been able to thrive as a filmmaker after WW2 and the fall of Nazi Germany. I would LOVE to see what she would have accomplished with color cinematography and film processes like Technicolor, awesome wide screen formats like CinemaScope, large-format 70MM film, and stereo sound. She probably would have directed exhilirating powerful cinema epics!