The world of aesthetics is usually reserved for the artist and to some degree held separate from the science of politics. This paper sets out to explore the relationship between these too-often separated disciplines by examining how the political manifests itself in the aesthetical. The theoretical framework in this paper is based on Crispin Sartwell’s theory about political manifestation in aesthetic expressions in political environments. The method of delivery forthe purpose is challenging Sartwell’s theory in a semiotic picture analysis of the motionpicture Olympia, produced under the direct supervision of Hitler in 1930’s Nazi Germany.The contents of this famous film are commonly described to hold high in the sphere of theaesthetical, but not so much in the political, despite for being a Nazi-produced film. Theresults go to show however, that such is not the case. In fact, this aesthetical piece holdsmany representations of Nazi ideology. The aesthetics of the film can at first seem to besubtle and purely aesthetical. But through careful analysis, the aesthetical expressions arerevealed to be all but simply artistically creative expressions; they are the visualmanifestations of central aspects of Nazi ideology.