The Marbles

Campaigning for the repatriation of the Parthenon marbles – historically, and this documentary posits, egregiously, sometimes referred to as the Elgin marbles – stretches back to virtually the time when Thomas Bruce, the seventh Earl of Elgin, arranged for their removal from Athens’ Acropolis and shipment to Britain, with Lord Byron among his detractors.

The argument about whether they should remain in the British Museum or be returned continues to this day and the case for their restitution is comprehensively made by David Wilkinson (no relation) in his heartfelt and thorough documentary. Unusually for a documentary that leaves no doubt as to its position on the argument – which is that the marbles should be sent back home – it is not seeking to demonise those who offer the opposing view.

Wilkinson begins by exploring what amounted to Bruce’s theft of the stones, with his “ownership” shown to have been acquired through bribery and a fair amount of corruption, including a permission edict from Ottoman officials which is highly suspect in terms of authenticity. While condemning the earl, however, the documentarian takes care to acknowledge the complexity of the situation in the modern era for the marbles current custodian The British Museum. The institution, in fact, is generally very accommodating both of modern day protesters and of Wilkinson’s camera.

The Marbles then broadens out into a consideration of the position of post-colonial artefacts in general, something that was also under scrutiny in the recent Dahomey, by Mati Diop. While Wilkinson’s film is much more conventional, relying heavily on a talking heads approach, he is comprehensive in terms of considering how Scotland, in particular, has led the way in returning art to its homeland on request. Although concerning itself partially with the different approach adopted by the various nations on these islands, Wilkinson also keeps one eye on an international audience, offering a quick guide to the ins and outs of the UK so they won’t feel at sea with the differences.

Some have suggested the returning of objects could leave museums with bare shelves but as the film shows and one contributor notes “the floodgates argument just isn’t true”, with just a dozen or so items being returned out of about 300,000 in one case. Wilkinson speaks to a range of contributors, including academics and experts, one or two star names, including actor Brian Cox, and some of those actively campaigning for the marbles to be returned.

The director’s championing of the cause is never in doubt although his commitment to the subject may well be why The Marbles suffers from repetition in places when a point has already been made. Nonetheless, his fair-minded and careful scrutiny of the situation is something other directors of more stridently polemical films could learn a lot from.

Reviewed on: 14 Nov 2025