Best known for Nazi propaganda film, Triumph of the Will, and Olympia, her documentary about the 1936 Olympics, Leni Riefenstahl was an undeniably extraordinary filmmaker. In Ray Muller's two-part exploration of her life and work, Riefenstahl claims to have prioritised art over politics, that her films' fascist agenda is only incidental; their fetishisation of Aryan bodies and spectacles of Nazi power, however, suggest otherwise. In Mueller's interviews with the elderly Riefenstahl, her steely perfectionism emerges, directing her directors to get precisely the right shot of the mountains behind her and resolutely denying her involvement with the Nazi leaders.