Stripping away the gods, can a grounded Odyssey still capture the epic's heart?

Ideas & Philosophy · Published 3 October 2026 · Updated 25 October 2026 Swipe more like this →

In short: Uberto Pasolini’s 2024 film The Return reimagines Homer’s classic as a gritty, psychological drama. By removing the supernatural elements and focusing on a traumatized Odysseus, the film invites viewers to reconsider what remains of the hero when the mythology is stripped away, leaving only the man and his homecoming.

The Return focuses exclusively on the second half of Homer’s Odyssey, depicting a weary, traumatized Odysseus who washes up on Ithaca twenty years after departing for the Trojan War. Eschewing the gods, monsters, and magical trials of the original epic, director Uberto Pasolini opts for a realistic, "stripped back" approach. This version emphasizes the character's internal struggle, with Ralph Fiennes portraying an Odysseus who feels personally responsible for the deaths of his companions and the devastation of his kingdom.

The production process was decades in the making. Edward Bond’s original screenplay was first reported in 2003, with various directors and stars attached over the years. The project was finally resurrected in 2022, with Pasolini directing and Fiennes starring alongside Juliette Binoche. To achieve the desired look, Fiennes underwent over seven months of intense physical training, aiming for a wiry, rope-like physique rather than a modern gym-built body. The film, a co-production between Italy, Greece, the UK, and France, was shot in Greece and Italy with a budget of $20 million.

Critical reception has been polarized. Supporters, including classics scholar Emily Wilson, praise the film's "stylish sparseness" and its ability to focus on the human core of the narrative. Conversely, some critics and scholars, such as Joel P. Christensen, argue that the film lacks the depth of the original, criticizing the characterization of Odysseus as overly laconic and the omission of the epic's core themes regarding storytelling and identity. While the performances of Fiennes and Binoche are widely lauded, the debate persists over whether removing the supernatural elements enhances the psychological drama or merely drains the story of its essential vigor.

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