"The true origin of the story told by Fesser does not prevent the film from splashing around in fables and fantasies while being true and impossible at the same time. (...) A fascinating beginning (...) a moving and thunderous ending. (...)

Camino is a journey with brilliant sequences and moments of breathtaking poetic force which turns confusion into philosophy and double meaning into spirituality.

A brilliant as well as an excessive work that provokes attraction and repulsion. In a radiant, chromatic and tasty way it depicts some dark sides of our own inside, when it describes dark, cunning and calculating environments in the believe they are enlightening. "Camino is pure polysemy, it is plurality of meanings and disparity of feelings. (...) it is difficult to forget some of its lasting moments. Its actors, Carmen, Elías, Mariano Venancio, Manuel Vellés are all magnificent, but the child Nerea Camacho is not only magnificent, but absolutely glorious, blessed and completely celestial.

Moments of great cinema straighten and daunt its characters' feelings and emotions."

ABC
E. Rodriguez Marchante

"Few films manage to balance Hollywood sentiment and European irony as successfully as Javier Fesser's weird but impressive third feature. The result is a kind of three-way collision between The Magdalene Sisters, Amelie and The Song of Bernadette."

SCREEN DAILY
Lee Marshall

"Fesser succeeds at stamping his more personal and vehement style, his taste for fantasy combining with reality and a precise and brilliant esthetics which are borrowing from comics and advertising in equal parts. (...)

Camino is an uncomfortable account, deliberately ambiguous. (...) It is an odd and unusual film, without any referential model, (...) but above its strangeness it manages to be undoubtedly efficient because it succeeds in awakening deep feelings, leaving a hint of restlessness with the memory."

EL CULTURAL
Alberto Bermejo

"Fesser manages to mix styles and genres without losing its way.

"Camino" breaks the rules while carrying the viewer happily through a visually spectacular two and a half hours.

Pers are superb across the board, with Elias in particular resisting the temptation to lapse into mere caricature and creating a wonderfully complex character as a result. The radiant-eyed, debutante Camacho has a joyous screen presence, suffusing her role with a transcendent saintliness that makes the priests eager to canonize her."

VARIETY
Jonathan Holland

"Fesser's Camino rivets San Sebastian audiences.

Tangible proof of how a religious organisation can condition the lives of its members is well documented. With Camino ("Path") Javier Fesser shows how this radicalisation is condemnable from any perspective.

Camino has pulled off a miracle. A miracle that the characters invoke throughout the entire film to save the life of an innocent person. Yet in the film the laws of life follow their natural course, which comes as no surprise, for the director deals with his issues fearlessly, exposing them from the very beginning of the film, as only great artists can."

CINEUROPA
Carlo d'Ursi

"A daring, compulsively watchable melodrama against religious fundamentalism.

A rather extraordinary movie. (...) Camino is raptly fascinating for over two hours, as Javier Fesser intertwines melodrama, horror and animation in outrageous new ways. (...) Widely acclaimed at its San Sebastian bow.

Fesser's uncompromising script is not anti-religious, though it condemns the dehumanizing effects of religious extremism with great conviction. (...) Fesser once more offers a child's perspective on the adult world while making a big leap forward."

THE HOLLYWOOD REPORTER
Deborah Young

"Camino is a fully justified moral indignation. (...)

It is tragedy at the beginning (that of the child and her parents) and a denunciation (her own family and the Opus Dei "encourage" her to suffer) of an aberrant fanaticism and propaganda. The most serious criticism of the Opus Dei."

EL MUNDO
Francisco Marinero

"Javier Fesser susprises with a brutal and heartbreaking fairy tale. A spiritual film about love, death and the Opus Dei."

EL MUNDO
Luis Marínez

"Exhausting, intense, sad, luminous, vitriolic, repairing, excessive, tender".

CONTRAPICADO
Evaristo Martínez

"Fresser tackles with risk, develops with credibility and ends up leaving the spectator with a high degree of emotional tension. Breaking (and heartbreaking) performance by Carmen Elias."

LA VANGUARDIA
Lluis Bonet