But her story is a lot more complicated than anyone is allowing here. One fact is that, far from being Hitler's personal filmmaker, she only made one film after "Olympia," largely because Goebbels was annoyed at the way she highlighted Jesse Owens in that film. The follow-up film, "Tiefland" was only finished long after the war, and it's apparently hard to find anything remotely supportive of the Nazi philosophy there (it's also very hard to actually find the film). After witnessing war crimes in Poland, she resigned a job to make films at the front for the propaganda effort and basically spent the next five years up in the mountains making "Tiefland" and dodging phone calls from the Nazi establishment.
Another interesting sidelight is that when she actually came to Hollywood in 1938 (officially to promote "Triumph," but also looking for a job) the anti-Nazi leftists succeeded in getting every meeting cancelled. Had she made "Triumph," then taken a job in Hollywood and sat out the war there, would she still be considered as evil? (That's what Douglas Sirk did--the Nazis loved him in the 1930s) What was her crime, making that film, or not rejecting Hitler sooner? If the film had been a piece of junk, instead of an amazingly seductive piece of propaganda, would anyone care?
Praising talent is not the endorsing anything other than the talent. I disagree with the politics of Kirk Douglas or Paul Newman but they are both credits to their craft. Only a few small minded hard core conservatives would condemn me for praising them. So should it be for Reifenstahl. She made valuable contributions and it's too bad she did not have a larger body of work to show for her life.