1Propagandists for evil, when exposed, have their work cut out for them. After the Nazis were defeated, “Triumph of the Will” director Leni Riefenstahl , stripped of her Third Reich protections but saved from prison by a sympathetic tribunal, realized she’d need to become her greatest propaganda subject yet: selling the world that she was merely a persecuted naif taking a commission — someone who cared only about art, not politics. Hitler’s favorite filmmaker was a victim of history, not one of its ideological profiteers (or so she claimed).

“Riefenstahl,” Andres Veiel’s scrupulous, powerful documentary about the documentarian’s efforts to rehabilitate her image and art — a biography folded into an investigation — amounts to one big “not so fast” of a response. It answers Riefenstahl’s

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