The Camino Voy­age

Sunday Independent (Ireland) - Living - - CINEMA - AINE O'CON­NOR AINE O’CON­NOR

Cert: PG; Now show­ing

Early on in The Camino Voy­age writer, poet, ad­ven­turer Danny Sheehy says: “If you’re sen­si­ble all the time you’d never do any­thing.” He is at that point a man in his six­ties sail­ing in a small boat from Ire­land, along the west coast of France and down to San­ti­ago in Gali­cia with three friends: fel­low Ker­ry­men mu­si­cian Bren­dan Be­g­ley, stone­ma­son Bre­an­dan Mo­ri­arty and Kerry adoptee artist Liam Holden. For the fi­nal leg Mo­ri­arty was re­placed by Glen Hansard, who de­scribed him­self as a sub on a jour­ney, the be­gin­ning of which was “30 to 40 times harder” than he imag­ined, but the film of which is beau­ti­ful, calm­ing and life-af­firm­ing.

They built the naomhog, Naomh Gob­nait, them­selves and over six weeks in three Mays, from 2014 to 2016, they sailed the 2,500km of the dif­fer­ent stretches of the jour­ney. Along the way, they camp, meet peo­ple, play mu­sic and chat. Donal O’ceil­leachair di­rects what is, as the Camino is in­tended to be, much more than just a phys­i­cal jour­ney. Each man of­fers snip­pets of their process, that you need to be free in your­self, that if you wor­ried what peo­ple thought you’d never do it, grief, heal­ing, be­ing in the mo­ment, but these are just sprin­kled in, there is no heavy ba­nana spir­i­tual stuff, this is the story of an ad­ven­ture based in Ir­ish tra­di­tions and told largely as Gaeilge and it’s a plea­sure and priv­i­lege to get to see peo­ple who just do things.

Cert: 15A; Now show­ing

I loved this. And as it won the Palme d’or this year I was not alone in my af­fec­tion for this Ja­panese fam­ily drama from pro­lific writer-direc­tor Hirokazo Kore-eda. It’s de­cep­tively sim­ple, sweet, of­ten funny, thought­pro­vok­ing, mov­ing but never mawk­ish and re­ally ac­ces­si­ble. Don’t let the prize or the sub­ti­tles, or the fact crit­ics like it, put you off.

Ap­par­ently Osamu (Franky Lily) and his wife Nobuyo (Sakura Ando) live with Granny (Kirin Kiki who died in Septem­ber) tweenage son Shota (Jyo Kairi) and Nobayo’s sis­ter Aki (Mayu Mat­suoka) in a ram­shackle over crowded apart­ment. On their way back from a shoplift­ing foray, Osamu and Shota see a small girl locked out in the cold. They’ve clearly seen her be­fore and de­cide to bring her back with them for some food. The fam­ily doesn’t make a fuss, they’re more in­ter­ested in whether they got the right sham­poo. They feed the lit­tle girl who turns out to be five and called Juri (Sasaki Miyu). She also turns out to be cov­ered in scars and in no hurry to go home, so they keep for her for the night, and then a lit­tle longer. It’s not kid­nap­ping if you don’t ask for a ran­som.

Juri be­comes part of a fam­ily we learn to know, char­ac­ter by ap­peal­ing char­ac­ter, their un­ortho­dox story told with a de­tail-speck­led pa­tience that builds qui­etly un­til it shifts gear into drama.

What does fam­ily mean? What does love mean? And what’s the deal with poverty? Shoplifters looks at it all.

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