Alongside the brothers Riacho and Manhã, she seeks the lost city of Igdrasil, which according to legend was founded by descendants of Vikings who crossed the Atlantic Ocean and ventured down the Amazon River.

[5] In addition to containing references of Inca and Scandinavian mythology, Brazilian folklore (in the figure of Curupira) and patriotic-environmental pedagogy, used in the territorial defense of the Amazon.

Barbara (Xuxa Meneghel), a timid and monosyllabic biologist, lives in Beirada D'Oeste, a fictional city bordering the Amazon rainforest.

She leads a group of heroes to Igdrasil, a legendary underground city, populated by descendants of Vikings that crossed the Atlantic and ventured into the Amazon River.

Barbara confronts Igor (Marcos Pasquim), her ex-husband, who still holds a torch to her, joined by a pair of siblings on their quest for Igdrasil.

[5][8][9][10][11] In addition to containing references of Inca and Scandinavian mythology, Brazilian folklore (in the figure of Curupira) and patriotic-environmental pedagogy, used in the territorial defense of the Amazon.

[2] The total budget Xuxa e o Tesouro da Cidade Perdida, was R$6 million reais and debuted in 320 rooms in the country.

[2] Director Góes (2003) says that although she does not consider herself an actress, he likes her interpretation: "Xuxa has a great presence on screen, lending her characters a lot of authority.

[12] To interpret Igor, the love interest of Tesouro da Cidade Perdida, was chosen the actor Marcos Pasquim.

Perhaps the screenwriter Flávio de Souza, knowing that with this (Juliana Knust), Lisandro (Paulo Vilhena), Helena (Natalia Lage) and Demetrius (Sergio Hondjakof).

[22] For him the script is "extremely childish, can not be charismatic for adults (can not even swallow) and in the end, the older (13 years and above) will realize that it is just another Slot machine, as well as the films of former hit artist Didi.

"[23] A Cineweb writer, he criticized the influence of William Shakespeare in the script writing that "it suits just for pretext to tell a love story involving the persongaens of the film.

"[24] Paulo Santos Lima, of IstoÉ, criticized the director of Xuxa e o Tesouro da Cidade Perdida, writing that he "dared, but he did not do it.

"[25] Claudio Szynkier, writing to Folha, criticized the concept of fatherhood set out in the film "full of disappeared, rejected or cretin parents: a dark and strangely symptomatic idea of culture in which there is an authority of the image (in this case, Globo TV) playing paternal role.