“Fusing art, politics, and history, Riefenstahl had composed a symphonic ode to domination. For the American filmmakers, living in a rowdy democracy, no such grand synthesis was possible, or even imaginable. But how do you create war propaganda in a democratic country? Do you just make movies promoting victory? Is it possible to work, under military sponsorship, as an artist and a truthteller?” Read the full article in the New Yorker.