本片是佛朗哥死后西班牙民主电影中的一部经典纪录片，曾获得1980年塞维利亚电影节金奖，西班牙当代艺术大师Luis Eduardo Aute称其是“西班牙最美丽的电影”。 影片拍摄下1977年在塞维利亚举办的罗西欧朝圣节的空前盛况，并在其中穿插了对西班牙民族、宗教和人文历史的回顾以及对独裁统治时期的批判。塞维利亚的罗西欧朝圣节是西班牙传统节日中最为盛大的一个，每年吸引近百万来自世界各地的朝圣者前来阿尔蒙特村向圣女Rocio膜拜，这个延续了几百年的传统民间习俗在佛朗哥统治时期遭受了极大限制，直到他死后，安达卢西亚的人们才用一场历史上最盛大的节日来庆祝民主的回归。 全片充满着西班牙民族特有的服饰、音乐和节日景象，配乐由弗拉门戈大师Salvador Távora创作，印象主义的影像继承了西班牙纪录片的悠久传统。然而1981年导演Fernando却被阿尔蒙特村的一个家族告上法庭，说其在片中把自己的父辈描述成内战时期佛朗哥的忠实拥趸，为此Fernando被判入狱两年并赔偿了大量金钱，影片也从原来的80分钟被剪成68分钟。此后Fernando再也没能完成新作。 The cinematic victim of the return to order in the second part of the Spanish transition to democracy, Rocío, written and made in 1977 by Fernando Ruiz de Vergara and Ana Vila, won the first prize at the Seville Film Festival in 1980. In 1981 it was impounded by a judge and censored and the director was sentenced to two years in prison and ordered to pay ten million pesetas to the plaintiffs, a family from Almonte who felt that their father was being accused of the murders committed in the Spanish Civil War in the village. But all those political accidents hide the best film ever made about the Rocío, which includes some treasures of Spanish documentary cinema and a soundtrack full of Muslim hymns and songs by Salvador Távora. In the return to order we could also consider Rocío y José, the antagonist of Rocío, García-Pelayo’s most linear film. With John Ford’s tempo and oriental-style photography it portrays a story of pure love in the Rocío festival caravan, with a music all its own based on hits from the Rocío sevillanas. According to Luis Eduardo Aute, "the prettiest film in Spanish cinema".
