The director of the interview was Hans-Jürgen Panitz, who won an Emmy in 1993 for his documentary The Wonderful Horrible Life of Leni Riefenstahl.

In 2018, documentary filmmaker Andres Veiel joined the project with his team of editors, who had been involved in visualizing the material from the beginning, and cameraman Toby Cornish.

For example, Riefenstahl's statement that she had never read Adolf Hitler's Mein Kampf was refuted by an interview published in the British newspaper Daily Express in April 1934, in which she said that she had bought a copy of the book in a bookshop on the way to filming The Blue Light.

[15] Stephan Krumbiegel [de] and Olaf Voigtländer, with whom Veiel had already worked on his documentary about Joseph Beuys, and Alfredo Castro took part in the editing of the film.

[17] Veiel pointed out that “in the last conversation Leni has on the phone in the movie, she says that it will take one or two generations for Germany to rediscover its role in terms of morality, virtue and order.

[20][21] German film journalist Dieter Oßwald [de] wrote on the Programmkino.de portal: “A meticulously compiled and exciting puzzle of a contradictory biography.

[19] The American magazine The Hollywood Reporter wrote: “Andres Veiel's new documentary is a psychological portrait of the infamous director of Olympia and Triumph of the Will that shows the ‘terrible seductive power’ of fascism".

[22] Jens Hinrichsen, from Monopol [de] magazine, writes in his detailed review of the film that it once again dismantles the myth of apoliticism and brings the problem of its aesthetics to the present.

[13] Owen Gleiberman of the US magazine Variety wrote that the documentary “presents more evidence than we have seen so far that Riefenstahl was part of the regime.

[23] Xan Brooks, film critic for the British newspaper The Guardian, writes that Leni Riefenstahl returns to the festival as the star of Andres Veiel's 'extraordinarily profound documentary'.

[24] Thomas Schultze, from the movie portal Spot, comes to the conclusion that “Leni Riefenstahl's blindness, as Andres Veiel's film makes clear, is the blindness of an entire country that doesn't want to take responsibility, that doesn't want to learn from what happened, that prefers to look away and deny, thus opening the door to a new look at an abyss that was thought to have been overcome".