The Way

After Tom Avery (Martin Sheen) learns that his son Daniel (Emilio Estevez) has died while hiking El Camino de Santiago, he flies to France and decides to undertake the pilgrimage through Spain himself. Unprepared for the journey and approaching retirement, he buckles down and proceeds regardless to try and understand his son's bohemian spirit which he had routinely belittled throughout his life. While coping with his loss, he reluctantly befriends three younger adventurous subjects who take a mysterious shine to his rigorous no-nonsense elderly personality, each embracing the trek for different reasons. Their heterogeneous individualist assembly forms a peculiar undefined pact as they encounter a colourful cast of characters while seeking lodging along the way.

Emilio Estevez's The Way elastically populates a variety of different situations with thought provoking revelations towards its healing goal. Some of the dialogue and interactions could have benefitted from a careful study of Woody Allen or John Cassavetes, but I can't deny that he works well within his elevated wide-reaching down-to-earth frame.

Heated exchanges. Romantic musings. Acerbic challenges. Carefree suggestions. Confident purpose. Cohesive wanderings.

Unpredictable traumatic events necessitate change. Improvised determined responses supported by but not rooted within historico-cultural traditions can lead to revitalizing affects. Social opportunities and previously unconsidered theoretical trajectories abound after the embrace of the other. Letting go and enjoying the difference leads to spiritual rebirth.

The Way.