Two actors fairly early on in their careers starred opposite one another in 1992’s Wuthering Heights. It starred Juliette Binoche and Ralph Fiennes, and although it wasn’t terribly well received, they would work together again four years later in the more acclaimed 1996’s The English Patient.

This then is the third time these critically acclaimed actors – and firm friends – find themselves starring opposite each other, in this retelling of the latter stages of Homer’s Odyssey.

It has been twenty years since the war against Troy, and Queen Penelope (Binoche) finds herself a prisoner in her own palace, coming under constant scrutiny and pressure to re-marry, as her husband Odysseus has yet to return. And the fact that so much time has since past, the common feeling is that he isn’t likely to now.

Meanwhile, a stranger (Fiennes) washes up on the shore of Ithaca, physically drained. He claims to have fought in the Trojan War, and has finally returned home. But the Ithaca he now sees isn’t a familiar one, which troubles him.

He is also drawn to the palace, and the queen that still lives there, with whom he has a connection, but the ravages of war and time have taken their toll on him, making him a figure that no one recognises, but make no mistake, he belongs there.

Having started his career as a producer (including 1997’s The Full Monty), Uberto Pasolini has made the move to director, with this being his fourth film.

It focuses on the finale to Homer’s Odyssey, with the return of a king.

Although it has a cinematic presence, certainly helped by the sunny locale, it has an undeniable theatrical weight to it. In that sense it comes across a little overly staged, lacking an energy of a historical epic style film. Of course that suits the style of both leads, with their rich theatrical backgrounds, but the Italian director struggles in places with the pacing that a film like this needs.

That said, you can’t say that Fiennes wasn’t committed to the role, buffing up like some kind of action hero as the 62-year-old actor does. He does appear fully naked early on, so that no doubt had some bearing on his physical appearance.

And even though Fiennes knows how to work a stage, he’s also fully aware of the camera; it is a performance where his eyes do more work than his biceps, as they convey much of the emotional turmoil his character is going through.

Binoche has less to do, but does more than enough than is required of her. Perhaps the only downside is that the pair don’t actually share much screen time together, so make the most of it when they do, with their undeniable chemistry.

Despite Pasolini’s fairly passive direction, Fiennes continues to prove that he is true acting royalty, with yet another striking, unmissable performance.