On January 30, 2025, audiences will witness the release of "Itaca - Il Ritorno," directed by Uberto Pasolini, featuring renowned actors Ralph Fiennes and Juliette Binoche. Presented at the 2024 Rome Film Festival, the film delves deep within the dark heart of the Homeric myth, portraying the return of Odysseus not as a tale of glory, but rather as one defined by inner turmoil, guilt, and lost identity.
The story begins with the frail and weathered Odysseus, played by Fiennes, who arrives on the shores of Ithaca after decades of absence, marked by the scars of war and waves. This reimagined narrative connects with audiences on emotional levels, offering viewers more than just the standard heroic return; it provides insight about the costs of such adventures.
"There’s no spoils of war or triumph here; just a body marked and consciousness weighed down by guilt," remarked one observer. Penelope, portrayed by Binoche, finds herself burdened by silence and longing, wrestling with the memories of her husband’s absence, all the meanwhile dealing with the pressure from the suitors who have invaded her home. The tension of their reunion reflects not only their love but the damage done through years of separation.
Filmed across the stunning backdrops of Corfu and the Peloponnese, the visual style of "Itaca - Il Ritorno" opts for raw aesthetics, distancing itself from the opulent depictions often found in contemporary historical dramas. Instead of grand sets and costumes, the film embraces simpler, more tactile elements—drawn back linen, worn sandals, and the naked form of Odysseus suggest both vulnerability and strength.
"Pasolini’s approach deliberately avoids modern metaphors, immersing the audience within a tangible past, where every gesture carries ancestral symbolism," noted another critic. This stark treatment invites the audience to ponder the struggles of its characters, particularly the psychological depths faced by Odysseus as he reconciles his identity with his present circumstances.
The conflict with the suitors, portrayed as the grotesque antagonists of the piece, paints them more as misguided caricatures than realistic figures of danger. The initial sections of the film focus on Odysseus’s psychological re-adjustments and echo theories of radical edipism, which can be seen as aiming to shed light on familial expectations and loyalty.
"The narrative’s pacing slows at points, potentially falling prey to overly didactic dialogue. It’s the second half, though, where the film truly shines," said one reviewer. During the climactic final act, Odysseus’s transformation from the broken beggar to the unyielding sovereign delivers visceral drama, emphasizing not only violence but also poetic nuance, where the essence of revenge is intertwined with the restoration of self.
Fiennes's portrayal is both fierce and nuanced, skillfully shifting from the meekness of his character’s initial impressions to the fiery resolve required to reclaim his place. Even with less screen time, Binoche breathes life and agency back to Penelope, illustrating how strength can manifest not just through action but also through patient resistance.
This modern interpretation diverges significantly from traditional epic storytelling, rendering the essence of Odysseus’s return as one fraught with loss and reflection. Itaca, as it sets out to depict, wants to explore the essence of what remains after everything is lost. According to Pasolini, the exploration lies deeply within the narrative’s ability to provoke inquiries about identity: "What remains of the hero when glory becomes merely memory?"
With its premiere and subsequent release, "Itaca - Il Ritorno" is not just another interpretation of the classic myth but presents itself as a bold challenge to viewers, questioning not only the nature of heroism but reverberations of existence and memory through tumultuous journeys. The final scenes suggest not only the reclamation of Ithaca but also the deep scars imprinted by time, inviting audiences to reflect on their own paths of return. Indeed, as Odysseus’s homecoming demonstrates, sometimes the most significant victories are those defined not by triumphs but by the burdens we carry through life.