Reel Reviews | The Return (TIFF ’24)

Man in ancient attire holding a weapon with a quiver of arrows on his back.

by Tim Gordon

A myth stripped of its glory and softened by time, The Return reimagines the final chapters of The Odyssey as a quiet, melancholic meditation on war, aging, and the long road home.

Directed with measured restraint by Uberto Pasolini and anchored by two masterful performances from Ralph Fiennes and Juliette Binoche, this understated drama trades epic spectacle for emotional realism, offering a poignant take on what happens when a hero comes back not to triumph, but to reckon with all that’s been lost.

Fiennes plays Odysseus not as the mythic warrior of old, but as a broken man weathered by time, hollowed by war, and emotionally estranged from the life he once knew. Washed ashore after twenty years away, he finds Ithaca unrecognizable: his kingdom in decay, his wife Penelope besieged by opportunistic suitors, and his son in danger of being killed to clear the path for a new regime. The great king is now a stranger to his own legacy.

Fiennes is exceptional in the role, his every glance and gesture burdened with guilt, grief, and restrained fury. He doesn’t return as a conqueror but as a ghost, forced to watch the life he fought for crumble in his absence. It’s a quiet performance, full of internalized struggle and deep pathos. Opposite him, Binoche imbues Penelope with a steely dignity. Her Penelope is not merely a woman waiting; she’s endured, resisted, and guarded the soul of Ithaca for two decades. The scenes between Fiennes and Binoche crackle with unspoken longing and pain, two people who have been pulled apart by time and now must rebuild their connection in silence and stares.

Pasolini wisely avoids grand theatrics. His direction is subtle, almost ascetic, with muted colors and spare dialogue that echo the emotional and physical ruin surrounding the characters. This is not a tale of glory reclaimed; it’s about the high cost of absence. Adapted from Homer’s Odyssey by Edward Bond, John Collee, and Pasolini, the film reframes Odysseus not as a hero reclaiming his throne, but as a man confronting the irreversible toll of what he left behind.

While the film’s somber pacing may not be for everyone, it rewards those who sit with it. In its stillness, The Return offers a moving reflection on loyalty, regret, and the inevitability of change. By peeling away the mythic armor, it finds something even more enduring: the painful truth that time spares no one, not even legends.

Grade: B

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Publisher of TheFilmGordon, Creator of The Black Reel Awards and The LightReel Film Festival. Film Critic for WETA-TV (PBS) - a TRUE film addict!