DIRECTOR: Juan Manuel Fernandez
STARRING: Documentary
RUNNING TIME: 1 hr 25 minutes
LANGUAGE: Spanish
PLOT: An altar boy and a gardener break years of silence by denouncing the Catholic priest who abused them as children. Their testimony sparks an unprecedented scandal in Costa Rica, forcing the priest to flee and turning him into a fugitive wanted by both local authorities and Interpol. Determined not to let him escape accountability, the young men join forces to track him down. But will justice prevail this time?
GENRE: Drama
FILMING LOCATION: San Jose, Costa Rica
To check out all previous submissions for Costa Rica, click HERE.
STARRING: Documentary
RUNNING TIME: 1 hr 25 minutes
LANGUAGE: Spanish
PLOT: An altar boy and a gardener break years of silence by denouncing the Catholic priest who abused them as children. Their testimony sparks an unprecedented scandal in Costa Rica, forcing the priest to flee and turning him into a fugitive wanted by both local authorities and Interpol. Determined not to let him escape accountability, the young men join forces to track him down. But will justice prevail this time?
GENRE: Drama
FILMING LOCATION: San Jose, Costa Rica
To check out all previous submissions for Costa Rica, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“Life is giving us the opportunity to find purpose in this."
Juan Manuel Fernández’s The Altar Boy, the Priest and the Gardener is a powerful Costa Rican documentary that confronts one of the most sensitive and urgent issues of our time: abuse within the Catholic Church. Through the voices of two survivors, an altar boy and a gardener, the film chronicles their decision to break years of silence and publicly denounce the priest who abused them as children. What begins as a deeply personal act of testimony soon evolves into a legal and social battle that shakes the foundations of a community long accustomed to silence and complicity.
Fernández adopts a restrained, observational style that gives space to the survivors’ testimonies. Rather than relying on archival spectacle or sensationalist techniques, the director builds the narrative around personal accounts, interviews, and moments of reflection. This intimacy allows the audience to not only hear the facts but also to feel the weight of silence carried for decades. The story unfolds with an almost investigative rhythm: the initial denunciation, the priest’s sudden disappearance, and the international pursuit that follows. The sense of suspense is real, but it never overshadows the human dimension of the film.
What stands out most is the dignity with which the survivors are portrayed. Their pain is palpable, yet Fernández emphasizes their resilience and solidarity rather than their victimhood. Their decision to unite in their search for justice transforms the narrative from one of isolation into one of collective strength. The documentary does not shy away from the broader implications of their case: the role of institutions in protecting predators, the complicity of silence, and the cultural barriers that make speaking out so difficult. These themes extend beyond Costa Rica, echoing similar struggles in communities across the world.
The Altar Boy, the Priest and the Gardener delivers not only a chronicle of abuse but also a story of courage. Fernández makes clear that the true triumph lies in the act of breaking silence and demanding accountability, even in the face of overwhelming power. The film’s main point resonates powerfully: justice may be uncertain, but truth-telling and solidarity are the first steps toward dismantling entrenched systems of abuse.
(This review contains spoilers.)
“Life is giving us the opportunity to find purpose in this."
Juan Manuel Fernández’s The Altar Boy, the Priest and the Gardener is a powerful Costa Rican documentary that confronts one of the most sensitive and urgent issues of our time: abuse within the Catholic Church. Through the voices of two survivors, an altar boy and a gardener, the film chronicles their decision to break years of silence and publicly denounce the priest who abused them as children. What begins as a deeply personal act of testimony soon evolves into a legal and social battle that shakes the foundations of a community long accustomed to silence and complicity.
Fernández adopts a restrained, observational style that gives space to the survivors’ testimonies. Rather than relying on archival spectacle or sensationalist techniques, the director builds the narrative around personal accounts, interviews, and moments of reflection. This intimacy allows the audience to not only hear the facts but also to feel the weight of silence carried for decades. The story unfolds with an almost investigative rhythm: the initial denunciation, the priest’s sudden disappearance, and the international pursuit that follows. The sense of suspense is real, but it never overshadows the human dimension of the film.
What stands out most is the dignity with which the survivors are portrayed. Their pain is palpable, yet Fernández emphasizes their resilience and solidarity rather than their victimhood. Their decision to unite in their search for justice transforms the narrative from one of isolation into one of collective strength. The documentary does not shy away from the broader implications of their case: the role of institutions in protecting predators, the complicity of silence, and the cultural barriers that make speaking out so difficult. These themes extend beyond Costa Rica, echoing similar struggles in communities across the world.
The Altar Boy, the Priest and the Gardener delivers not only a chronicle of abuse but also a story of courage. Fernández makes clear that the true triumph lies in the act of breaking silence and demanding accountability, even in the face of overwhelming power. The film’s main point resonates powerfully: justice may be uncertain, but truth-telling and solidarity are the first steps toward dismantling entrenched systems of abuse.
