Rocio Agreda
The structure of the film is circular: it starts with the agony of the girl in a hospital, surrounded by her parents, sister and family, receiving the last rites. Camino faces death in a way unusual, terrifying from a Christian reading. In his agony, Road tells the adventures of a soul facing death, haunted by evil spirits. However, at the end of the movie, when you close the circle, we are confronted with the same levels of initiation, but new meaning by the true story of Camino. What at first was a pious girl drama considered holy and has to confront death, suffering becomes a teenager in love with a boy named Jesus. This redefinition is obviously not naive, you have to do with a conscious confrontation with the religious beliefs of a priest and a mother who, blinded by religion, have no privileged access to "reality" as does the father of the girl, and this reality, as outlined in the film, deals with a very human drama: the first love of a girl.
Goya Winner of several awards, Road is proposed by Javier Fesser with an adventurous beauty-that is not saved dream of using elements or to incorporate a classic cartoon, "" based on a true story ": the life of Alexia Gonzalez-Barrios, a girl from Madrid in the ongoing process of canonization given by the Opus Dei. This clearly anticlerical film presents the story of a teenager named Camino (Nerea Camacho) that, at an early age, has to deal with the two great human themes: love and death.
The structure of the film is circular: it starts with the agony of the girl in a hospital, surrounded by her parents, sister and family, receiving the last rites. Camino faces death in a way unusual, terrifying from a Christian reading. In his agony, Road tells the adventures of a soul facing death, haunted by evil spirits. However, at the end of the movie, when you close the circle, we are confronted with the same levels of initiation, but new meaning by the true story of Camino. What at first was a pious girl drama considered holy and has to confront death, suffering becomes a teenager in love with a boy named Jesus. This redefinition is obviously not naive, you have to do with a conscious confrontation with the religious beliefs of a priest and a mother who, blinded by religion, have no privileged access to "reality" as does the father of the girl, and this reality, as outlined in the film, deals with a very human drama: the first love of a girl.
As expected, the film was heavily criticized by the Opus Dei, who accused the director of showing "a distorted view of faith in God, Christian life and the reality of Opus Dei." And consider that putting a film based on real events, we assume that it will be relatively subject to events, the "life and work", so to speak, the protagonist of that life. But if these facts have to do with religion are not acceptable parameters and robust to deal with this reality in quotes, it is very steamy and escapes representation: as humans we can only interpretation.
Finally, Way is an entertaining film that tells a human story without the depth, drama and despair of the atheist, with enough desire to ridicule religion agents, with expendable parts such as use of certain resources of the horror film. We must thank the other hand, your little pretension. Must be seen for what it is: a point of view about the existence and religion is what is
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