Death and religion are always touchy subjects in film and in life, but Javier Fesser was unperturbed as he went along creating Camino. The writer-director was inspired by a cancer victim that touched the hearts of Spain, and Alexia González-Barros’ story inspired him to create a tale showing different ideas of faith. Shockingly, Australia is the only country outside of homeland Spain to have Camino on wide release, considering its 6 Goya Award wins…

González-Barros lost her life to cancer as a 14-year-old in 1985 and within her Opus Dei faith was seen by the Prolate as a possibility for sainthood. Today, she is in the process of being canonized by the Catholic Church for her unrelenting faith and prayer throughout her battle. Fesser’s inspired tale is beautifully crafted, giving us the story of 11-year-old Camino falling victim to a crippling form of cancer. The film is a flashback as we’re told how she came to her deathbed, but more importantly we also see the progress of what she holds important to her – the Cinderella production of her local theatre where her Prince Charming, Cuco (real name Jesus) wants her to be there for him.

If it sounds a bit fairytale, that’s because it is. Fesser draws on Disney’s Cinderella for the basis of Camino’s story, even excerpting footage from the animation as her dreams formulate her path with the help of friend Mr Meebles and her Jiminy Cricket pet mouse. The film roots its European origins in these intercut flashes, giving us Camino’s worst fears through winding pathways and distortions in space and characters in a way unseen in Hollywood. The nightmarish nature alerts us of her fear of death – the white light of the guardian angel ready to take her away, while her mother also appears as unwanted and critical. Here we see Camino’s real view of her mother – Gloria is stern, relentless in her prayer and thanks for her daughter’s suffering. Fesser uses this as the basis of a juxtaposition that’s recognised in the film and gives us a metaphor, as the Jesus referred to by Camino is different to the Jesus Gloria regards so highly. Camino sees her Jesus (Cuco) as her love in not just the emotional sense, but also the intimate and physical sense. It’s this salvation, even as a tween yet to really experience love, which gets her through the pain. That brings an interesting irony to the influence her family’s faith brings to the film.

Followers of strong Catholic movement Opus Dei, their faith in their Father appears to leave no room for the biological version, but Camino’s relationship with Jose is beautiful. Her father is her confidante and he treats her for everything she is. Camino forces us to see the conflict in between the beauty with a clash of personalities: the controlling mother, the exemplary eldest daughter and a father who feels he’s gotten lost in the mix. Fesser lets every member have their time on camera and the performances are excellent. Most of your sympathy is directed towards Mariano Venancio’s Jose deservedly, while young Nerea Camacho is so bright (particularly in scenes with Lucas Manzano’s Cuco) as the free spirit who accepts her fate – as long as she gets the happy ending.

Verdict:
Camino is a powerful and extremely emotive story that will leave you in awe of one girl’s view of life and death. Fesser poses questions of what faith really is and forces you to see its effects.

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