Can Propaganda have Artistic Merit? Riefenstahl (2024)

➡ This is a review of a documentary about Lenny Riefenstahl, a filmmaker who shot much of the Nazi’s original propaganda. The documentary explores Riefenstahl’s artistic legacy and her complex relationship with the Nazi regime, questioning how much she knew about the regime’s atrocities. The review discusses the controversy surrounding Riefenstahl’s work and her claims of ignorance about the Nazi’s actions, suggesting that she may have been more aware than she admitted. The documentary also covers her life before, during, and after the war, showing how her involvement with the Nazis overshadowed her other work.
➡ The documentary discusses a 1976 talk show featuring Lenny Riefenstahl and Alfred Kirchmer, two elderly German women who grew up during Hitler’s reign. Alfred accuses Lenny, a filmmaker who worked for Hitler, of knowing about the atrocities committed, but Lenny denies this, causing a debate about whether it was possible to be unaware of the horrors. The documentary also explores the complexities of filmmaking during that era and the moral responsibility of those involved. Despite criticism, Lenny receives support from others who claim they too were unaware of the events, raising questions about collective guilt and responsibility.
➡ The text discusses a documentary about a woman who made significant contributions to film, including innovative techniques and a unique vision. Despite her talent, she is controversial due to her involvement in creating Nazi propaganda. The documentary reveals her tendency to deny or downplay her connections to high-ranking Nazis and her witnessing of war atrocities. The text also suggests that her focus on documenting beauty might have been a way to avoid acknowledging the ugliness of human actions.
➡ The text discusses a documentary about a filmmaker who documented the Nazi regime. Despite criticism, the filmmaker defended her work, arguing she was merely documenting, not endorsing, the atrocities. The text also explores the moral dilemma of documenting horrific events without intervening. The author appreciates the filmmaker’s artistry and cinematography, despite the controversial context.
➡ This text seems to express a person’s struggle with negativity and criticism, using metaphors like a game, war, and snakes. Despite the hate, they remain strong, continue their path, and even thank their critics, suggesting they’ve grown from the experience. They also hint at a sense of superiority, as they believe others lack what they have.

The composition’s great, but it just happens to be a huge Nazi rally. Under the docks. Under the docks? Yeah, under the docks. Welcome back to under the Docks. Paranoid American. Sean Chris. Don’t forget to like subscribe and share the show today. We got some good stuff for you. We’re going back over some of the rotten Tomato top of 2025. What we got for him today? Rifenstahl 2024 documentary. It’s about two hours long from Andreas Vale or Veil, whatever. You can figure that out on your own. It’s essentially about a woman named Lenny Riefenstahl who filmed a lot of the Nazis footage, like a lot of their original propaganda, some movies, a whole bunch of other stuff.

It’s a little bit of a spicy one, I think. Man, this is going to be somewhat controversial and I’m surprised it even came up on this list. Very controversial to me too, because it also dances this line of like, who’s. Who’s at fault, like, right, Is it the filmmaker or is the filmmaker just there, you know, observing the description from either rotten tomatoes or IMDb, it says, explores Lenny Riefenstahl’s artistic legacy and complex ties to the Nazi regime. Juxtaposing self portrayal with evidence suggesting awareness of the re regime’s atrocities. So large part of this movie is circling around what did she know? Like, how much did she know being in this inner circle of literally Himmler and Hitler and Hess and all these other high ranking Nazi officials.

Like, how much did she actually know? All right, plotting the course. So again, this is a documentary about a Nazi propagandist named Sydney Sweeney and. Or Lenny Rifenstahl rather. And it starts out that she is making movies, she’s filming movies. She’s obsessed with cinematography. She grows up around cameras, around recording devices. I get the impression that her family was at least well off enough to have video cameras and recording stuff. And they also kind of describe her mom as being like a stage mom. So she’s I guess, an early 1900s, like very, very early 20th century celebrity or at least like a celebrity in the making.

And this goes through her entire catalog essentially both before the war, after the war, and then way after the war. Like I think she lives until she’s 100 years old. And this documentary covers her until she’s about 70, a little bit older than that. So it starts out and she’s talking about this film, one of her early films called the Blue Light. And she talks about it being the key to her life and a lot of the, the old German Population that’s familiar with her work, they also know her from this blue light. I’ve never heard of her before this documentary.

Have you ever even heard this lady’s name? Never, not once. Like, I. It was when I first saw it. Like, I had no idea when we picked it. Remember, we’re just going through the list. Like, I had no idea it was about this filmmaker. I thought, like, oh, it’s going to just be about like Nazi propaganda in general. And like, I’m like, now they put a face to who the cinematographer behind most of the propaganda. Alleged propaganda. Get her. So there’s also very little narration in the movie. There are some bits, right. So we. One of the.

Very early on in the documentary, the narrator makes this claim and they say, for something to be remembered, other things must be forgotten. And immediately I was like, is that true? Doesn’t even sound. Doesn’t even sound true. It didn’t even sound clever. Like you could remember things without. Anyways. And then there’s a whole bunch of different quotes I got from her. So she has this quote and she’s saying, if you feel things intensely as an artist and you live your life so passionately that there’s no other room for interest in real world issues. So this is kind of the mentality that she portrays going in, is that she cares so much about being an artist that she’s uninterested in politics.

She’s uninterested in anything that doesn’t have to do with the art that she’s trying to create. And I think that that kind of shapes her worldview or at least what she’s projecting out to the public for. For books that she’s come out with. Multiple interviews and most of this documentary. Yeah, she’s pretty much. Her stance is. I was just standing back and filming what I saw. I did not change anything, alter anything. I just was right there and had multiple cameras at different angles and different places. And I was directing them. But, like, we didn’t stage anything.

She was like, I was just basically observing everything. And there’s. Early in the movie, she’s showing off some. I think this is from like the 1970s. There’s a few different periods in time when she’s interacting with media. And one of these is that she’s showing off Triumph of the Will, which is like a very early Nazi propagandist film. And she’s commenting like, look at how the. The footsteps are so in sync with the music. Look at how these flags in the foreground are overlapping the flags in the. Oh, wow, look at this camera work. Look at how the camera, like, slides from left.

Like, she’s describing all these technical, like, all these different techniques with her camera work. And legitimately, she’s right. She’s right. That all, like, the composition’s great, but it just happens to be a huge Nazi rally and this is it. And I guess one of the other premises that slowly builds over the course of this movie is. Is showing how this part of her portfolio, understandably so, overshadows everything else that she did before and after this. Because she wasn’t just like, one person that happened to be around filming Nazis. Like, she was the person in charge of some of the.

The greatest propaganda great in. In like, large or big right for the Nazi party. And she also st. Like, kind of claims that, like, hey, nobody knew what was going on. I. It was. I was just caught up in the moment, right? Like, this energy that was there. Like, everybody in. In some senses, I kind of, like, feel for her in that regard of, like, yeah, like, we don’t know how it was. Look how with COVID and different stuff like that, where people just kind of like, lock, step together. So she’s like, kind of like, hey, man, you’re judging me, but you were probably doing the same thing and you’re just judging me now with retrospect of what I did when I.

And again, she says that she’s just a filmmaker. So she’s like, being a filmmaker and just loving for the cinematography and that I was just caught up in this energy that everybody was. Some of the points that she makes, they’re. They’re good points. But then another part of this documentary is that it shows her mask slipping here and there. It shows that there’s a little bit more going on. Like, she. She definitely understood more that was happening than she lets on. And here’s a good example. This is way before they start getting deep into that, but they’re.

They’re talking to her about trying for the will. And she has this. This quote where she says peace is the constant in that film. That there’s no mention of political goals or motives. There’s no mention of anti Semitism. There’s no mention of racial theory. It’s just about work and peace. And at that point, I. I kind of knew that, like, all right, this. This lady is coming from a completely different and maybe unrealistic angle on exactly what she created here. And that is. That becomes. The main premise of the movie, is that she claims that she had no idea there were any atrocities going on and that she didn’t support any of the atrocities.

And only in retrospect, only after the war was completely over and the allies exposed some of the research. Then she’s like, oh, I wish I would have known. I wish I would have spoken out about this. But instead of speaking out, she ends up being like the lover to like top Nazi officials and just like jumping around SS officials throughout basically like almost a 10 year period, right? So that there’s like this, this balance, that mention of like the juxtaposition of what she’s putting out there versus what people are accusing her of. She was a Nazi groupie, right? She was a groupie that was all around like going.

And to not know that’s where you start going, come on man. Like you knew, like I get it, you were probably lost in the moment and just like in love and, and fantasize about this, what you’re at and you were getting attention that you really like, but you’d be like, what? They were killing people? I had no idea. This was like you start to see as the film, like I was saying in the beginning, you’re like, maybe, you know, she has some good points and as it goes and tells more the story of her, you’re like, you knew, you knew something was going on.

Wait, you mean our Hitler, Adolf Hitler did that? Right? Like she actually plays it off. So this, you get the first big glimpse of this early on in the documentary. There’s a talk show clip from 1976. At this point point she’s 70 years old in, in 1976 and it’s her and another lady that’s her same age and they both grew up in Germany and they both grew up as like blonde haired, blue eyed Germans in their words. Although I think she dyed her hair. I don’t know. Like in pictures she looks like she’s got really dark brown hair.

But it’s, it’s the, the target of the documentary, Lenny Riefenstahl and this lady named Alfred Kirchmer. And this, this lady Alfred, she’s kind of calling out Lenny and she’s saying there’s no way you didn’t know it was happening. That they were both in their 30s, that they both completely understood what was happening in the time and that Elfrey was like, if it were me, like I would have refused the job. I wouldn’t have gone and worked for Hitler and filmed his Nazi propaganda. And Lenny kind of gets really defensive immediately. Like she starts getting angry, she starts like shaking a little bit and she starts Quoting from, like, Churchill.

And she’s making these points, and she’s like, Churchill said, I envy the Germans for their leader and that no one knew about this. Millions of people didn’t know about that. All she saw was the rallies of everyone supporting this. And then she also makes this point which starts to add complexity to the documentary, but she makes this point that says nobody believes people that say they didn’t know. And that’s. That’s kind of. So for the record, I don’t think I believe her. I think that she did know. Right, but let’s say that you didn’t know for whatever reason.

You mentioned Covid before I could mention, like, the Manhattan project that had 130, 000 people involved making the atomic bomb, and not all 130, 000 people knew about it. And we’re. This isn’t apples to apples, right? But there’s probably more than zero people that legitimately had never had any idea what was going on. I don’t. I don’t know. That’s pure speculation. But it seems reasonable. At least one idiot was like, I don’t know. I don’t pay attention to anything. And they didn’t get it. And if. And if they were to actually say that out loud later on after Nuremberg trials, it would be hard to believe them, right? It would be really hard to believe any person that lived through it and say, like, come on, you didn’t.

You didn’t smell that? Like, you didn’t hear that. I think you’re right. There it is true that someone could not be aware, right? And I’m like, for. From what she was saying, like, as the film went on, that resonated with me as well, where I’m like, yeah, like, people from the outside that didn’t live in Germany, a different circumstance than you being even the guy living in Germany that may just not pay attention to politics, that’s just all about, like, farming or sports or whatever the heck, you know, reading books. There’s people that could get lost and not see that.

I understand that, but you were in the Nazi party, like, sleeping with the Nazi members, and you didn’t know. That’s where I’m like, okay, you’re kind of getting a little too crazy, because I thought she was just filming at first as it went on. And you’re like, they’re writing her letters, like, and she’s writing them letters back, like, oh, I can’t believe you thought of me. And like, you know what I’m saying? She was obviously head over Heels for a lot of these Nazi guys. So I’m like, you’re telling me people tell you what happens at work when you’re with your significant other.

So if you were dating or being with one of these guys for a while, you think they’re like, yeah, killed about 1500 of them today. You know what I mean? Like, they’re gonna tell you something or guess what we found out. And even it brings it to the part where I think the lady says, like, I don’t know if it’s that one, but she starts talking about, like, well, would you have, like, made. Put people disabled in your video? Like, would you have made some people that were like, you know, of a different, lesser than this, like, you know, idea of what supposedly the superior race that Hitler was allegedly looking for? And she says, no.

She’s like, I wouldn’t have put them in. So you kind of get the underlying of like, okay, she’s convinced herself that she’s just an innocent bystander. That was just like. And you start, like, kind of seeing that as the film goes on. We’re like, oh, you have to tell yourself this so that you can believe it. You don’t care about us. It’s so yourself can believe that. You’re like, I had nothing to do with it. And. And she also represents of a significant chunk of Germans of her own age and from the same times, because after her appearance on that talk show, clearly there was a lot of people being critical of her on the show itself.

She got very triggered on the show. But afterwards, she gets this outpouring of mail from fans, too. Like some. Some critics, but lots and lots of fan mail that’s like, yeah, I. I lived through this too, and I didn’t know about it either. There’s. There’s dozens of us out there, maybe a full dozen of us out there. And that she kind of turns into a little bit of a folk hero for people that are courageous enough to be like, you know, I was there and I wasn’t paying attention and hear me roar? So she does have a fan club that erupts over this.

And. And I don’t necessarily think in the. In the movie. And I didn’t get the impression, but it’s not like neo Nazis be can began celebrating her or anything. It was truly just other people that went through the same experience that were kind of. Yeah, man. Remember when like, 80 of the country just all played along and then they all pretended like they were against it from day one? Like, what happened to all those 80 of the people. Well, you, you see some of them represented in this movie, which is a. A perspective that I don’t think I’ve ever seen before.

I haven’t seen that angle of people that were like, hey, don’t criticize me. I was alive when it was happening and rooting for it. But I didn’t know it was a bad thing at the time. I’ve got a list of Hidden treasures and some overboard moments for this one. Let me, let me let you go first and see what you cover for my Hidden Treasures, the archive of films and like, just the thought process of them, like, breaking down, like cinematography back then, like, it gave me the respect, even though I know a lot of it anyways.

But just seeing them, like having a, you know what you have to go through to make a slow motion video, right? It’s not like now I’m just. I. I felt like a, A spoiled brat, right? Like, where I’m like, oh, I’ll just go on my phone and press a button and it will slow it down. Where they’re like, having to figure out the schematics of like, okay, well, at this angle, this angle, this angle, this thing, and this is how I’ll make it. Slow motion. I think that’s always, for me, like, crazy. Even though it’s maybe what it’s covering.

But just to see, like, old film of like, how you structured in editing compared to now. Anytime I see that stuff, it always blows my mind. And I think the other Hidden Treasures was like this moral obligation to where we’re like, getting in our head, like, should we blame the people that were a part of the crafting? Like, did they. How much did they really know? Or how much should they be blamed for putting together the films or putting together posters? Like, should they be blamed or are they just under a. Hey, it is. Things happen, you know, I mean, the, the energy of the time.

So I think that’s an interesting question to pose to us as human beings is like, is, do we have to go after every person? Like, I never knew who Lenny was. And she’s obviously controversial, but she is one of the hidden treasures in this because it’s like, should we blame her or is she just being like, hey, you were just making film and you chose to ignore it? So I think that’s an interesting question. For me. The overboard moments would be more. I think it’s obvious that the director was trying to. Didn’t. Like, he did a pretty good job of not being too biased, but you could tell he was trying to build up.

So you could be like, oh, she’s all right. Boom. No, she’s not. Like, a little bit of the overboard moments would be for me that he’s obviously predetermined of what he feels about Lenny. I could, I think, see that. Right, so if you’re making documentaries, you’re also making film. And you’re probably influenced heavily by this lady’s work, especially if you’re German or especially if you’re European on top of everything. So to be a documentarian and looking back at this lady who is also a documentarian, that made huge waves that it would. It probably has like a deeper effect on the person working on this documentary because they’ve got like way more connection to it.

I definitely see that, that, that critical view from here. But it’s also interesting how they’re able to give her view of this. Like, you get her full shake and you, you hear her fans, they read out the letters, you hear voicemails left to her. So there’s clear she represents a decent amount of the population that’s kind of like on her side on all this. The biggest hidden treasure for me in this entire movie was truly, man, they. They talk about that she had all this technique and it’s like, well, you know, she made propaganda films. What possibly was she doing that was so special? And then they show clips from her Olympia movie.

And the Olympia wasn’t even necessarily her filming it. It was. She hired 30 other people, told them what to shoot, and then she kind of had the vision and edited it all together. And the clips they show from this, I don’t think I’ve ever seen them before. Like, they are legitimately amazing. Like, like awe inspiring. Great work, camera work, the angles. It just a bunch of guy. The one clip they show just a bunch of divers at the Olympics jumping off these high diving boards into the water. But the way that it’s shot and the way that it’s edited, it makes them look that they’re like floating in space or something.

It’s. It’s so hard. Like you, you actually have to see the visuals to understand what this looks like. But by far she had merit. Like, she was absolutely knew what she was doing and how to create a team and how to have a vision. So none of that to take away from her. I think that’s one of the biggest hidden treasures is her herself and the techniques that she introduced. And also this idea that you might not know about her because she’s got this huge, like sandbag hanging around her right she had another project where after the war is over, I think like 10, maybe like 15 years later, she goes to Sudan and she lives with these Nooba people for a few weeks and she takes pictures of them.

Those were also legitimately like fantastic photos. And just every, all of her actual work seems to speak for itself. Even the Nazi propaganda, like, is well shot, well composed, like all of that. So it’s, it’s weird. I didn’t think I was going to be saying that phrase today, right? Like giving that kind of command. But that’s part of the Hidden Treasure. The other part is the documentary does a very good job of playing out this like, lying narrative. So one of the. The versions is that early on they’ve got this unreleased footage from an earlier movie from 1993.

And she’s on a couch talking to the guides, interviewing her and they ask her about, I think it was Rudolph Hess. They asked her about like one of these top ranking Nazis. And she basically is like, oh yeah, we. We had all sorts of different affairs with each other. No, sorry, it was, it was Goebbels, which is like maybe even more. He was the head of propaganda, right? And she’s, she’s like, oh, we had many adventures together. He read Zara Thruster to me. He kneeled before me, he tried everything to get me. My thought was like, man, if breaking out the.

The Nietzsche, like, I guess that he’s a true romancer, right? That’s what you always go to is like nihilism, like, hey girl. But she, she’s talking about like these escapades they would go on. And that one night he, you know, drove them and they flipped the car over and then try and take me by force and. But like, she describes it like she was always being pursued by all these guys and then she, Her. Her partner. Sl. Assistant. Sl. Like boy toy on the side, which is another thing that we’ll talk about in a second. But like you can hear him off camera.

He’s like, Lenny, that’s not going to sound good. Like, don’t say that. So then they re. They do a second take and the interviewer asks her basically the same question, like, so you and Goebbels? And she’s like, oh, no, I think I maybe met him one time and it was just for official reasons and never again. We had no contact and it was wild to see her right there. Like, none of this is like, has a cut in between. You see her going from, oh yeah, I knew him well. And we had all these affairs and we had adventures together to like, Lenny, don’t say that to her being like, nope, don’t know the guy.

Never saw him, met him once maybe. So you know that she’s capable of doing this bold face lies like in real time. And then she starts getting angry thinking about what she said off, like. And then she says it as if she thought that was off camera. She thought that that was off the record. But as she’s replying the first time, it doesn’t sound like she’s talking off the record. It sounds like that was just her natural response until someone reminded her like, Lenny, xnay on the otsy nay. Right? Like, like once she hears that, she’s like, oh yeah, I forgot this whole narrative I got.

So that the way that they show that and they show that a few other times too. There was one very, very large claim that she ended up suing a bunch of people for defamation for making later on, I think 50s and 60s. And this was that she, after she did all the, the war propaganda, she was invited to go to Poland in 1939. This is like right before the, the war actually breaks out. And that while she’s there in 1939 in Poland, the claim is that she saw 22 Jews get shot, like in person, and that she never mentions it and you actually hear her being accused of that on tape and she again, she gets very angry.

She’s like, no, that never happened. This is all lies. I never saw anything like that. But there’s also the, the direct evidence that right after that event was claimed to have happened, she withdraws. She asked to be removed as a war correspondent from the entire Nazi party, then goes back into like filming non war related stuff. Right. And, and aside from that, she does like one more film that has to do with Hitler’s favorite opera and then kind of disappears for a decade or two. So my impression is that like, yeah, she absolutely saw those people get murked, 22 people, and then hated seeing it and left and wanted to separate herself and, and just kind of like block that part of her brain off.

Right. And that’s kind of the impression that I get from this. And I think the documentary does a decent way of illustrating how that happens and that that’s indeed what she’s doing. But they don’t outright come and say that. They don’t say this lady was lying and she’s still lying, but you can kind of put it together for yourself. Yeah, most definitely. She, she’s sticking to a story that she has to preserve her own sanity. And to feel like not a part of it. I think that’s what I got through the film. Like, she’s lying to herself to make it feel like, oh, everything’s gonna be okay.

Yeah, she. There’s this one theme that comes up a few times that she gets criticized for, and it’s that she wanted to document beauty. Like, her. Her interest in the entire world was to document beauty. And maybe on like, a deeper level, she probably just didn’t want to admit to the outside world or even to herself how ugly humans can be, and wanted to just completely focus on this. This positive angle, even when it’s ridiculously up against, like, the Nazi, you know, Empire during World War II. So here’s a hot take, though. Here’s a hot take.

So Lenny Reiffenstahl, that this whole movie is about. It’s basically about a lady that won’t admit that something horrible happened, even though she was there to document it and saw it firsthand. Still to the grave. Document just denies anything bad happening. Like, oh, I didn’t know my government was doing anything bad. How could I have known? And if you’re telling me this now, like, okay, I think it’s bad, but I never would have known. I almost feel that anyone alive right now that doesn’t think 911 was an inside job, you’re basically a modern day Lenny Riefenstahl.

Right? I take that 100% true. I didn’t even think of that. That you just blew my mind with it. Because you’re right. Because you’ve convinced yourself that this is not happening. They’re like, it’s impossible. You. You didn’t. Wow, that. That’s a mind blower right there. Canceled. We’re canceled now for sure, man. I’ll do my overboard. So the overboards aren’t necessarily about the documentary itself, but you. You already mentioned part of this. It was from that early talk show where she’s talking to this other lady. And granted, I mean, like, I don’t disagree with all of the criticism that’s getting loped to this lady.

She was absolutely in, like, a. Like, blood in the water with sharks circling around her. Like, it was kind of like a hit job for her to be there again, rightfully so. But then someone stands up and he’s like, you know, you made this movie. They’re talking about Olympia, which was the one that. That I remember. Like, man, this is amazing work. This is, like, truly something that you should see regardless of how you feel about anything in the world. Like, the. The camera work is phenomenal. And the guy’s like, would you ever make that about disabled people? And she’s like, look, man, I didn’t cast the Olympics.

I didn’t tell, like, the. The fittest athletes from all over the world to show up in this place and. And do these amazing feats. And she was basically like, look, they’re more interesting to look at than fat people. What do you want from me? And that was. It was kind of like a mic drop. But it was a. It’s such a weird criticism, right, for someone to be like, when are you going to make a documentary about cripples? And it was just a weird. Because now what. It’s. What it’s basically doing. It’s. It’s taking everything that she ever did and it’s framing it like, oh, you just want to show the ideal Nazi, you know, people.

And then there’s even criticism to when she went with the. The NUBA people in sedan, that it was her trying to either distance herself more from that earlier work and to also, like, lean into, like, oh, well, now she’s taking pictures of black people, so it’s okay. Even though I. Throughout this movie, I don’t really get the feeling that she necessarily was racist or biased or had any kind of, like, hate in her heart. Right. I just feel like she was able to disassociate the. The horrible things going on around her and just focus on the one thing that she actually cared about is the artistry.

I think she focused on her artistry and was able to tell herself a lie of like, hey, I’m just documenting. And it is interesting, though, because it’s like, if you go into the Congo or you go into these, like, cartel and you film stuff, like, there’s all kinds of documentaries like this where they’re seeing people sell drugs or kill people or be murderers. So I think the. That she is unfortunate as far as being, hey, there’s not much of you guys left, and we’re gonna pick at you because you’re. You’re a target that we can go after because people are still upset, especially the Germans, because they’re like, man, look what you did.

Now we look bad. And they. They’re still so apologetic for what happened instead of you being like, dang, we got caught up in that, man, that was crazy. Like, you should be able to say that. But because how the world looks through it through that lens, that they’re like, you guys did the most horrific thing that anyone. Which is not necessarily true. If you go through the history of time. There’s all kinds of things that happen similar. Maybe not as modern, right? I mean you could go with Mao, Mao and his color revolution and so on and so forth.

But I think it’s just that she’s a target because she popped back up and they’re like we, we need to unload on somebody. This is also a great chance to remind everyone to do the like and the share and the subscribe and all the things. If you made it this far into this particular review, then hopefully you like it enough to just click on the little thumbs up, copy and paste the link, send it to one other person that might find this interesting. Nazi propaganda. Sink or swim. It’s a swim for me, man. All the way.

I was not expecting to like this film as much as I did. It was interesting that well put together of like as you alluded to earlier, like you’re getting to see this person and it’s like looking back and saying what. How would you think you’re. You’re up and coming filmmaker, director and you get this chance to, to be part of, you know, what you think is your government and you bought into it at some point of. On certain level. But it’s like just really seeing the human aspect of going through, filming people and, and trying to live life.

And the moral compass of is it my fault for being a. Around these atrocities or was I just documenting them? Right? If, if I’m just documenting them, do am I under the same I. As the guy that put the gun to the guy’s head? Am I under that same scrutiny or is it just I was there and, and it brings up an interesting question. And just like you said, I think one of the best parts is the film like seeing the early films and like dang man, this is 1932. This is like early 1900s. And you’re getting like some of the best cinematography that I’ve seen and actually capturing how they got there in slow motion cuts and editing and, and showing a.

A more detailed version. I’ll give it a swim all the way. Same here. This, this gets a complete swim. The, the footage itself that she made, not the documentary footage, but the footage from Lenny herself is just phenomenal. Like, like every single part of it was incredibly interesting to watch and it’s something you can’t even spoil by describing it. So that to me that kind of makes it a swim. It’s a topic that I never heard of prior to now. I never even gave it any thought. It’s about one of the most impactful moments in modern history.

And it’s got some, like, very insider footage and information about, like, the Nazi party that you don’t get outside of this particular person’s experience. So all that kind of makes it this huge swim for me, kind of checks a lot of these boxes. And I, again, I really do think that she probably saw some horrible things happen. She probably saw those 22 people get killed. One of the other things that I was thinking of when you’re talking about, how involved are you if you’re there just filming it? If you’re there as the documentarian being hired by the people committing these atrocities? There was also.

I. I think it was a National Geographic cover photo from. I’m just gonna make up a number. I think it was, like, 20 or 30 years ago, but it had, like, a Somalian kid starving in the middle of, like, a desert, essentially, and a vulture nearby. And apparently the photographer didn’t do anything to necessarily help this. You know, this kid that had, like, a. A vulture next to him and kind of made the same claim, but his claim was like, I don’t interfere. I don’t interfere with what’s happening. I document what’s happening, but I don’t actually reach in.

And it also reminded me of the Antarctica documentary we watched where they talk about how a penguin or a seal will get lost and it’ll just wind up miles in shore and then slowly, like, you know, freeze to death, like, crying. And people have to just walk by and pretend that it’s not happening because they. They can’t interfere with this ecosystem. So it’s a challenging question. Like, I don’t have the answer to that question at all. But it’s. It’s a fascinating one to come up. So. And this documentary does a great job of really highlighting it.

And don’t forget to, like, subscribe and share share, share. Under the docs, go to paranoidamerican.com kill themockingbirds.com I hope you enjoyed. I think we got a couple more to wrap up on this Rotten Tomatoes. If you also just leave a comment, maybe we’ll get one of your suggestions. I think pretty soon we could start getting suggestions from you guys. Maybe we’ll break down some of those films. This is under the Docks. Peace. Under the Dark. The docks. Ready for a cosmic conspiracy about stanley kubrick? Moon landings and the CIA? Go visit NASA comic.com NASA comic.com CIA’s biggest con.

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