Nina Gladitz dedicated her life to proving beyond doubt the Triumph of the Will director’s complicity with the horrors of Nazism. In the end, she did it – but at a cost
On 20 November 1984, in the southern German city of Freiburg, two film-makers faced each other in court for the first day of a trial that was to last nearly two and a half years. The plaintiff, Leni Riefenstahl, had been Hitler’s favourite film-maker. Now 82, she showed up to court in a sheepskin coat over a beige suit, her blond hair set in a large neat perm framing a tanned face. The defendant was a striking, dark-haired 32-year-old documentary maker. Her name was Nina Gladitz, and the outcome of the trial would shape the rest of her life.
During the Nazi era, Riefenstahl had been the regime’s most skilled propagandist, directing films that continue to be both reviled for their glorification of the Third Reich and considered landmarks of early cinema for their innovations and technical mastery. Once the second world war was over, Riefenstahl sought to distance herself from the regime she had served, portraying herself as an apolitical naif whose only motivation was making the most beautiful art possible. “I don’t know what I should apologise for,” she once said. “All my films won the top prize.”
