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Like the recent hit The Crime of Father Amaro, Maria Luisa Bemberg’s story suggests that errant priests are nothing new. In 1840s Argentina, an independent-minded woman falls for her confessor, and the scarlet pair run off together to live in unwedded (and, need I say, doomed?) bliss. Mostly a bodice-ripper melodrama, Camila is most compelling toward the violent end of the couple’s idyll.