ABSTRACT
Leni Riefenstahl’s documentary of the 1934 Nuremberg rally of the National Socialist German Workers’ Party, Triumph of the Will, is perhaps the most controversial film ever made. At once masterful and morally repugnant, this deeply troubling film epitomizes a general problem that arises with art. It is both beautiful and evil. I shall argue that it is this conjunction of beauty and evil that explains why the film is so disturbing. . .
