After 20 years, Odysseus finally returns to Ithaca, where he finds his wife held captive by suitors seeking the throne, and his son threatened with death at their hands. In order to reclaim his family and all he has lost, Odysseus must regain his strength. For the third time, Ralph Fiennes and Juliette Binoche are working together in a film. They previously worked together on “Storm Passage” (1992) and “The English Patient” (1996). Penelope: How can people find their way to war, but not their way home? Odysseus: For some, war becomes home. Focused on immersing the viewer in the multifactorial pain and suffering of Penelope and Odysseus during Odysseus’s return home to Ithaca, this discussion seems to be a fairly systematic exploration of the issues that many soldiers face upon returning from active duty, including post-traumatic stress disorder and other mental health issues, reintegration into one’s former life with family and society, as well as memories and pain, both caused by the experience and the resulting internal changes that are irreversible. “The Return” is supported by an excellent cast, allowing the viewer to feel this roller coaster ride on which the two main characters rise to significant heights, the latter thanks to the unique and special endurance of Penelope and Odysseus during this difficult time in their lives, and without each other’s support. In fact, the two remain quite distant for much of the time, which only makes the catharsis stronger in the most intense, thriller-like final part of an otherwise slow-paced film. Fiennes brings his unique style of portraying suffering to this work, a great extension of his extraordinary skills from similar depictions of pain and suffering in The Spider and The End of a Novel. Binoche is a perfect choice for Penelope, as the viewer can be somewhat tricked into feeling and hoping that the two will reunite in the same way they were close in The English Patient, and Pasolini uses this to create additional tension in this work for those whose memories of “The English Patient” are still fresh. This is a great and very relevant work that needs to be seen!