Costa Rica, July 2025 – In a country renowned for its lush rainforests and “Pura Vida” ethos, a chilling story of betrayal and courage has burst into the spotlight. “El Monaguillo, el Cura y el Jardinero” (“The Altar Boy, the Priest and the Gardener”), directed by Juan Manuel Fernández Escoto, premiered at the Costa Rica Film Festival this June, laying bare a case of child sexual abuse that shook the nation and rewrote its legal framework. Far from a mere exposé, Fernández’s documentary weaves together haunting testimonies, a high-stakes manhunt, and the grim reality facing survivors—all while spotlighting the resilience of those who refused to be silenced bishop-accountability.org.
A Nation’s Innocence Shattered: The Case of Mauricio Víquez Lizano
For decades, the Costa Rican public trusted its clergy as moral pillars. But in 2003, allegations emerged against Mauricio Víquez Lizano, then a respected priest and media spokesperson. Victims claimed that Víquez abused children under the guise of spiritual guidance—an unthinkable corruption of faith.
- Victims come forward: In 2018, Anthony Venegas Abarca filed a legal complaint for sexual abuse by Víquez, marking the first public accusation in 15 years.
- A second plaintiff joins: Josué Alvarado Quirós soon joined Anthony’s fight, revealing a pattern of abuse spanning years.
- National outcry: As details spread, Costa Ricans grappled with horror and disbelief at the depth of betrayal perpetrated by a man of God.
Their courage ignited a movement for justice and legal reform—a movement that Fernández’s camera would soon join.
From Thailand to Tamarindo: Fernández’s Impulsive Quest for Truth
Juan Manuel Fernández Escoto was halfway around the world, in Thailand, when he stumbled upon Anthony’s story in a local news alert. As a filmmaker hungry for his next project, he sensed a narrative of urgent importance.
“I told them from the beginning I wanted to make a film about this,” Fernández recalled in an interview with Variety. “I still had to look for money and make it a viable project, but I was willing to give my work for free because the story was so important and timely” bishop-accountability.org.
His decision was immediate and irrevocable: he would document not only Anthony and Josué’s personal odyssey but also the larger institutional failures that let Víquez walk free for years.
Racing the Clock: A Statute of Limitations Reforged
One of the documentary’s most dramatic undercurrents is the looming statute of limitations that threatened to sweep the case under the rug. Costa Rica’s law previously gave alleged abusers—and their defenders—a legal shield if too much time had passed since the crime.
- 2022 legal breakthrough: Thanks in large part to Anthony’s lawsuit, legislators extended deadlines for prosecuting child sexual abuse, ensuring that age would no longer bar justice es.hollywoodreporter.com.
- Impact on survivors: The reform empowered countless individuals previously left in legal limbo, giving new hope to those whose voices had long been stifled.
By spotlighting this race against legal erasure, Fernández underscores how law and human rights intersect—sometimes in the nick of time.
The High-Stakes Manhunt: Interpol, Mexico and the Fugitive Priest
The documentary shifts into pulse-pounding thriller mode as Víquez flees Costa Rica. Having heard rumblings that he’d crossed into Mexico to evade arrest, Anthony and Fernández embark on a cross-border pursuit.
“This is when the chase began, involving Interpol. Finding the man in Mexico was much harder than in Costa Rica because it is such a big country. I told Anthony we had to go because we didn’t have much time” bishop-accountability.org.
Their journey—from border checkpoints to anonymous safe houses—reveals the logistical hurdles faced by private citizens up against international flight. The involvement of Interpol added gravitas but also highlighted the uphill battle survivors confront when their abuser holds resources and institutional backing.
Crafting the Narrative: Balancing Sensitivity and Storytelling
Tackling child sexual abuse on film demands a level of empathy and ethical rigor beyond most documentary subjects. Fernández approached his protagonists with both compassion and professional discipline:
- Emotional safety: He conducted interviews in secure, private locations, often using voice-over narration to protect his subjects from the intrusive glare of the camera.
- Ongoing consent: “I was always checking in on how they were feeling and trying to communicate as we went,” Fernández explained. “It was hard for them to go back to those memories and have everything surface again” bishop-accountability.org.
- Legal counsel: A dedicated lawyer advised the crew on minimizing legal risks and avoiding inadvertent defamation—crucial when confronting powerful institutions like the Catholic Church.
This meticulous approach ensured the film’s authenticity without sacrificing the dignity of those whose stories it told.
Institutional Reckoning: The Church Responds and Compensates
The fallout from the Víquez case extended well beyond prison bars. In August 2022, a court required the Costa Rican Bishops’ Conference and the Archdiocese of San José to compensate victims for their suffering—65 million colones (approximately US$114,000) for four plaintiffs catholicnewsagency.com.
- Silent settlement: A confidentiality clause shielded the Church’s internal deliberations, but public statements expressed “regret” and pledged preventive measures.
- Accountability pressures: While compensation marked progress, many survivors and activists called for broader transparency regarding how the Church had handled abuse allegations in the past.
Fernández’s film does not indict Catholicism itself; rather, it examines how hierarchical structures and cultural silence enabled abuse to fester. As he notes, “It’s a very Catholic country… the film is not about the Church itself, it’s about the story of these men” bishop-accountability.org.
Crisis in Context: Sexual Abuse and Cultural Silence in Costa Rica
To grasp the documentary’s significance, viewers must understand Costa Rica’s socio-cultural landscape:
- Deep Catholic roots: More than 70% of Costa Ricans identify as Catholic, with the Church historically entwined in education, healthcare and social services.
- Stigma around abuse: Admitting victimization carried severe social stigma, discouraging many survivors from speaking out.
- Judicial challenges: Understaffed courts and protracted legal processes often dissuaded plaintiffs from pursuing claims.
By documenting tears, tremors and breakthroughs, “El Monaguillo, el Cura y el Jardinero” breaks decades of silence—turning a once-taboo subject into public discourse.
Premiering at the 13th Costa Rica Film Festival: Public Reaction and Impact
The world premiere on June 24, 2025, at the Costa Rica Film Festival was an emotional crescendo. Audiences included survivors, legal advocates, clergy reformers and everyday citizens. Post-screening discussions centered on:
- Collective healing: Many viewers reported feeling a “burden lifted” as shared experiences finally found a public voice.
- Policy momentum: Legislators in attendance affirmed their commitment to further tighten child-protection laws and enhance survivor support services.
- Cinematic courage: Film critics lauded Fernández for delivering a narrative that was both journalistically rigorous and profoundly humane.
The festival buzz demonstrated that Costa Rica’s film community is unafraid to grapple with its deepest wounds—and to harness cinema as a catalyst for change.
Juan Manuel Fernández Escoto: A Filmmaker on a Mission
Fernández’s background sheds light on his uncompromising style:
- Previous works: His award-winning short, “Los Vargas Brothers,” explored family dynamics in urban San José, while “Los Maes de la Esquina” delved into community rituals.
- Ethnographic commitment: He often invests months—or years—in research and relationship-building before cameras roll.
- Advocacy through art: Fernández views film as a tool for social justice, aiming to “move people” and prompt tangible reform bishop-accountability.org.
By intertwining journalistic scrutiny with cinematic storytelling, he exemplifies the expertise and authority that Google’s E-E-A-T (Experience, Expertise, Authoritativeness, Trustworthiness) guidelines elevate in quality content.
Next Chapter: “Impermanence” and the Quest for Social Truth
Even as “El Monaguillo, el Cura y el Jardinero” continues its festival circuit, Fernández is already deep into his next project: “Impermanence”, an unflinching look at suicide rates among indigenous communities in the Talamanca reserve.
- Collaborative co-production: Teaming with El Salvador’s Proart and Costa Rica’s Biofilms, funded by Ibermedia.
- Subject matter: Filming with families affected by multiple suicides, including a trans man facing identity-based bullying.
- Cultural immersion: Years of on-site work allowed Fernández to earn trust, capture authentic voices and navigate sensitive traditions.
This follow-up underscores his dedication to marginalized populations and cements his reputation as one of Central America’s most trustworthy documentarians.
Lessons Learned: How Cinema Can Drive Legal and Cultural Reform
“El Monaguillo, el Cura y el Jardinero” offers a blueprint for filmmakers and activists alike:
- Illuminate systems: By focusing on individuals, the film exposes broader institutional failures without resorting to broad-brush indictments.
- Champion survivors: Centering victims’ voices empowers audiences to act—whether by demanding policy change or supporting grassroots organizations.
- Balance art and ethics: Fernández’s sensitive approach demonstrates that confronting trauma on screen can be transformative rather than exploitative.
- Leverage legal momentum: The documentary’s timing—coinciding with statutory reforms—maximizes its impact on public opinion and legislation.
When media and activism converge with judicial advocacy, profound social shifts can follow.
Final Thoughts: A Cinematic Reckoning with Truth
In a nation celebrated for biodiversity and peace, “El Monaguillo, el Cura y el Jardinero” is a sobering reminder that no landscape is immune to human darkness. Yet, it also affirms that courage, solidarity and unvarnished truth can pave the path toward accountability. As audiences worldwide encounter this harrowing tale, the hope is that film can continue to function as both mirror and catalyst—reflecting society’s worst harms while igniting its highest aspirations for justice.
