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On this page: THE MARBLES

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See also: SHADOWS FILM FESTIVAL | Last update 5.Nov.25

The Marbles
Review by Rich Cline | 4/5

The Marbles
dir-scr-prd David Nicholas Wilkinson
with David Wilkinson, Alexander Herman, Dominic Selwood, Ioannis Raptakis, Andrew George, Mark Stephens, Brian Cox, Janet Suzman, Alexi Kaye Campbell, Bill Nighy, Simon Callow, Stockard Channing
release UK 7.Nov.25
25/UK Guerilla 1h53

Now streaming...

With a wide range of beautifully shot interviews and gorgeous location footage, this fascinating documentary grapples with the thorny issue of museums repatriating artefacts to their home nations, specifically focussing on the Greek sculptures that are controversially held by the British Museum. Frankly, this is a no-brainer, and filmmaker David Wilkinson never needs to push a point as he explores the issue with remarkable detail and context.

Despite many decades of questions and protests, the British Museum and UK government have steadily refused to comment on the ownership of the Parthenon marbles. In the early 1800s, British ambassador Lord Elgin took more than 90 sculptures back to England, patronisingly arguing that the locals were incapable of protecting them. Even then, this was a scandal, with Elgin seen as a despoiler of a historic site. Legally he never owned them, and therefore sold stolen goods to the UK government. Other museums have dealt with this issue, but Britain's most-visited collection refuses to budge.

Of course this is a reflection of the destructive history of England's colonial arrogance and military looters. And the film widens to explore how other objects have been repatriated from museums to their place of origin, including to China, Australia, Thailand, Nigeria and Native American tribes. Museums in Scotland, the Netherlands and Vatican City have done this, while the British Museum clings to its sense of empire. Even so, the UK public is overwhelmingly in favour of returning the marbles to Greece.

Wilkinson points out that there is has been a long culture of stealing and selling valuable artefacts around the world, something that touches his own family history. This adds meaning to his appearance throughout the movie, which was filmed over four years to capture the global scope of history. So it's extremely clear that the UK government needs to stop ignoring or deflecting the issue. This is a fascinating, comprehensive look at a very complex topic, acknowledging the ethical, legal and emotional aspects. But it all comes down to the fact that, as Wilkinson says, "We are better than this."

themes, language, imagery 3.Nov.25

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See also: SHADOWS FILM FESTIVAL