about 50 seconds. (The entire sequence can be seen in prints of the film circulated by the collector Raymond Rohauer.) Reception The reaction to the film in Germany was enthusiastic, and it was received with acclaim and accolades around the world. In 1960, Riefenstahl's peers voted Olympia one of the 10 best films of all time. The Daily Telegraph recognised the film as "even more technically dazzling" than Triumph of the Will. The Times described the film as "visually ravishing ... A number of sequences in the supposedly documentary Olympia, notably that devoted to the high-diving competition, become less and less concerned with record and more and more abstract: as some of the divers hit the water, the visual interest of patterns of movement takes over." American film critic Richard Corliss observed in Time that "the matter of Riefenstahl 'the Nazi director' is worth raising so it can be dismissed. [I]n the hallucinatory documentary Triumph of the Will ... [she] painted Adolf Hitler as a Wagnerian deity ... But that was in 1934–35. In [Olympia] Riefenstahl gave the same heroic treatment to Jesse Owens." The film won a number of prestigious film awards but fell from grace, particularly in the United States when, in November 1938, the world learned of Kristallnacht, an especially violent pogrom against the Jews of Germany. Riefenstahl was touring the U.S. to promote the film at that time and was immediately asked to leave the country. Awards The film won several awards; National Film Prize (1937–1938) Venice International Film Festival (1938) — Coppa Mussolini (Best Film) Greek Sports Prize (1938) Olympic Gold Medal from the International Olympic Committee (1939) Lausanne International Film Festival (1948) — Olympic Diploma Re-release There had been few screenings of Olympia in English-speaking countries upon its original release; the film was not shown in the United States until 1940, and was then re-released in 1948 under the title Kings of the Olympics in a truncated version acquired from Germany by the U.S. Office of Alien Property Custodian and severely edited without Riefenstahl's involvement. In 1955 Riefenstahl agreed to remove three minutes of Hitler footage for screening at the Museum of Modern Art in New York City. The same version was also screened on West German television and in cinemas around the world. In popular culture In the 2016 biographical film about Jesse Owens, Race, the filming at the Olympic Games is depicted