Shadows on the Wall | The Return

The Return

dir Uberto Pasolini
scr John Collee, Edward Bond, Uberto Pasolini
prd James Clayton, Konstantinos Kontovrakis, Uberto Pasolini, Roberto Sessa
with Ralph Fiennes, Juliette Binoche, Charlie Plummer, Marwan Kenzari, Angela Molina, Claudio Santamaria, Amir Wilson, Hugh Quarshie, Tom Rhys Harries, Chris Corrigan, Jamie Andrew Cutler, Ayman Al Aboud
release US 6.Dec.24,
UK 11.Apr.25
24/Italy 1h56

TORONTO FILM FEST

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With driving intensity, this adaptation of the final section of Homer's Odyssey features vividly involving characters in scenes that make the most of the setting. So even if the drama sometimes feels stagey, largely due to the archly confrontational dialog and odd costumes, the situations come to life thanks to strong performances and an earthy sense of gritty realism. Filmmaker Uberto Pasolini also explores the emotions and modern-day parallels.

On the island of Ithaca with King Odysseus (Fiennes) away at war, Queen Penelope (Binoche) struggles against social decline while fending off thuggish suitors. Her frustrated son Telemachus (Plummer) reminds her that time is running out. Meanwhile, Odysseus has secretly arrived on the island and is hiding as a beggar to both deal with his own trauma and work out what is happening in his kingdom. Through various encounters, he slowly begins to challenge these suitors. But his true identity can't be concealed forever. The question is whether he has the stomach for cleaning house.

Odysseus has been shattered by the horrors of warfare, and he's worried about how people will react when they see him return alone, having lost his entire army. More interesting are the tensions that arise as he ponders rekindling relationships with his wife and son, both of whom have been through their own personal wars. All of this stirs timeless ideas that connect us to a grounded, human take on the classic story.

Fiennes throws himself physically into this role as a man beaten up but still hanging on, his inner fire merely an ember. It's gripping to watch him work out who he can trust and quietly reveal who he is. And his scenes with Binoche are particularly powerful, with enormous emotions held just beneath the surface. Plummer is also strong as their impetuous son, who has given up hope. And Kenzari is also solid as Antinous, Penelope's lead suitor, a smooth talking wolf in nice-guy's clothing.

The film's low budget is especially apparent because Ithaca looks like it's barely populated aside from this gang of violent, trash-talking alpha males jostling for position in the ruin of a castle. The crumbling settings and almost unnervingly simplistic clothing also take us out of the story. But the activity in Fiennes' and Binoche's eyes is riveting, reflecting the thoughts of two people who see themselves at a pivotal point: give up or move forward. It's a rousing approach to a familiar tale, cleverly expressed in a poetic way.

themes, language, violence, sexuality 27.Feb.25

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