In this episode of the Fascism on Film Podcast, we tackle Triumph of the Will (1935), the most iconic and disturbing Nazi propaganda film ever made. Directed by Leni Riefenstahl and commissioned by Adolf Hitler himself, this record of the 1934 Nuremberg Rally remains one of the most controversial works in cinema history. We don’t recommend watching it outside of a critical context.

Praised for its crane shots, rhythmic editing, and sweeping camera movements, Triumph of the Will is far more than a technical achievement. It is a masterclass in fascist aesthetics, designed to turn politics into spectacle and ideology into emotion. Susan Sontag called it a “fascinating fascism,” and we unpack what that means—how beauty, symmetry, and music glorify authoritarian power and erase the individual in favor of mass unity.

We examine how Riefenstahl constructs a cinematic monument to Hitler, portraying him as a messianic figure descending from the clouds. The film avoids explicit anti‑Semitic rhetoric, focusing instead on joy, pageantry, and the illusion of national rebirth—what Walter Benjamin warned about when he said fascism aestheticizes politics.

Though Riefenstahl spent the rest of her life denying her complicity, her closeness to the Nazi regime and her artistic choices make Triumph of the Will impossible to view as just a historical record. It’s a visual trance, designed to seduce the viewer into the ecstasy of submission.

Why does this film still influence cinematic language? What does it mean when art serves evil? And how do we reckon with the lingering power of fascist imagery in an age of resurgent authoritarianism?

If you want to understand how propaganda works on a visceral sensory level, this episode confronts one of the darkest achievements in the history of cinema.