**6. Conclusions**

The trend in movies and television shows whose messages penetrate society and determine choices about tourism destinations and behaviors has been growing [104]. Locations and movie experiences are enhanced in memories by associating them with actors, events, and settings [48,50]. In film productions, the representation of rural spaces and their transformation into locations have contributed to a process of renegotiation, producing multiple moving images with their cultural message. The cultural and creative industries, in general, and audiovisual content, in particular, are tools used to construct powerful and successful discourses that promote the values of the territorial identity resources (environment, landscape, history, local culture, and heritage) [7–9]. This recent age of cinematic production is contributing to renegotiating the space of the Camino, producing multiple moving images. The screen anticipates the pilgrimage experience, explaining its essence and acting as a dynamic travel guide [26]. Through these films, the viewer can access feelings and emotions in advance that might, eventually, lead to the desire to undertake the experience, walking the same spaces and sharing the same experiences. Filmic productions about the Camino deal with a cultural and historical location that is easily recognizable due to its international popularity. In so doing, movies intentionally reappropriate its space, which becomes a representational space. The di fferent spatial interpretations and representations depend on the interests and aims of the producers, who use gendered stereotypes to empathize with their public. However, this use of gendered stereotypes in the artistic representations to convey a symbolic and generalized notion is ideologically and culturally dangerous in that it perpetuates and transmits a distorted representation of reality [89]. When shooting in the rural locations of the Camino, treatment and representation are not equal. The female pilgrims, or rather celluloid women, are young, aesthetically compliant, and must arouse the interest of men, thus once again the study pointed out the power structure that underlies equity and reveals that gender is socially constructed even in cultural industries. In other words, the cinema is not free from inequalities and discrimination [105]; this is an alarming finding that should encourage producers to reconsider the cinematic creation of female roles.

As recently stated by Rubén Lois González and Lucrezia Lopez [106] (p. 447): "the widespread access to cultural industries results in a proliferation of cultural products that interpret new forms of knowledge production, ranging from spatial characterization to significant geographical insights". The cinema is a form of social media and a social language of ideological content; it is a cultural production through which society takes the stage. As the Camino is attractive, it has earned the attention of many people. Cinematic production requires ethic production. Moreover, as the Camino involves spatial and cultural aspects, contemporary research on its narrative geographies needs to consider creative spaces like cinema that contributed to its spatial meaning-making process. According to the Countryside Commission [107], sustainability is one of the priorities of rural tourism development: "sustainable rural tourism consists in finding the correct harmony in the relationship established between the needs of the visitor, the place and the receiving community". In addition, gender equality is explicitly listed in the 17 sustainable development goals [108]; thus looking to the future, the desired harmony should be conceived as social and relational sustainability, meant as a formula to ensure equal gender treatment and representation of spatial discourses that ensure visibility, as is the case of the Camino. It is necessary to reinforce the gender perspective in pilgrimage studies to investigate the terms of women's participation and restore their image. With this purpose, this paper introduced a critical interpretation of the gendered stereotypes and patriarchal schemes of some filmic production along the Camino in order to support the need for social and relational sustainability in rural spaces. This approach was mainly based on exploring the social and functional relationships of the female pilgrims, although future interpretations might follow, such as those exploring corporal pilgrims' geography in cinema.

**Funding:** This research received no external funding.

**Conflicts of Interest:** The author declares no conflict of interest.
