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This paper analyzes the review received by the feature film Olga (2004), as well as its reception by the germans. The film had a big box office in Brazil, did not have the same acceptance in Germany, where it was released two years later, in 2006. In addition, most sites, newspapers and magazines that have space for critical film condemned the use of an aesthetic language television (the excessive use of close-ups, for example) and detachment from reality (since the film was sold as a true story to historical fact). [ABSTRACT FROM AUTHOR]