The story had previously been adapted in 1910 by Mario Gallo, in the now considered lost film Camila O'Gorman.

[2] It was selected as the second greatest Argentine film of all time in a poll conducted by the Museo del Cine Pablo Ducrós Hicken in 2000.

[3] In a new version of the survey organized in 2022 by the specialized magazines La vida util, Taipei and La tierra quema, presented at the Mar del Plata International Film Festival, the film reached the 23 position.

When Ana asks Camila whether she enjoys love stories, the girl responds that she doesn't know any.

Raised on her grandmother's stories about her affair with former Colonial Viceroy Santiago de Liniers, Camila secretly reads French romance novels and books by political refugees like Esteban Echeverría.

Meanwhile, Adolfo supports the far-right single-party state led by Caudillo Juan Manuel de Rosas.

Ladislao remains torn between his love for Camila and a deep longing for his abandoned priesthood.

The commandante, feeling grateful to Ladislao for teaching his children to read, warns Camila that he will do nothing until morning.

When she finds him kneeling in prayer before the altar of the church, she bursts into tears, knowing that he has made his peace with God.

With the Church Hierarchy and his political allies demanding retribution, Rosas issues a decree that both Camila and Fr.

Despite the fact that the Law of Argentina forbids the execution of pregnant women, Rosas refuses to delay Camila's death sentence.

When the commandante threatens to shoot them if they refuse to obey God's will, they open fire, riddling Camila's stomach with bullets, and place both bodies into the same coffin.

Bemberg intended to fictionalize Camila O'Gorman as both a proto-feminist and a hopeless romantic, as opposed to the official history of a woman seduced and virtually kidnapped by her lover.

[6] No actor portrays the dictator Juan Manuel de Rosas and his actions are inferred only from the statements of other characters.

This, and his constant presence in portraits, have caused some film critics to compare him to the ubiquitous Big Brother from George Orwell's dystopian novel Nineteen Eighty-Four.

[15] Camila is featured in the book Pop Culture in Latin America and the Caribbean written by Elizabeth Gackstetter Nichols and Timothy R. Robbins.