In this episode of Rosie the Reviewer, we discuss Taking Sides (2001), a postwar drama built around a single, unresolved question: can you separate the art from the artist?

Set during the Allied denazification of Germany, the film centres on the interrogation of celebrated conductor Wilhelm Furtwängler, who insists that his art existed above politics. His American interrogator argues the opposite: that cultural figures who remained visible under the Nazi regime cannot claim neutrality.

Our conversation focuses on complicity and whether art is “apolitical” under fascism, as we try to determine whether the film truly challenges its subject.