Miguel Gomes’ Grand Tour is a cinematic journey that defies easy categorization, blending elements of myth, memory, and personal exploration. While it may be tempting to label it simply as a travelogue—especially with its striking depictions of iconic landmarks like Singapore’s Raffles Hotel, Saigon’s Hotel Continental, and Shanghai’s Peace Hotel—the film is much more than that. A closer look reveals that Grand Tour is an epic in the tradition of Homer’s Odyssey, weaving a narrative as complex and layered as the classical texts it draws inspiration from.
The film follows Edward, a man embarking on a journey through East and Southeast Asia. While his adventure is not unlike that of Odysseus, the film moves beyond the ancient text, intertwining personal quests and emotional reckonings with the grandeur of its setting. Gomes channels the mythical grandeur of the Odyssey, with the 20th-century backdrop providing both historical context and surreal twists. Filmed largely in black and white, with occasional bursts of color and anachronistic nods to modernity, Grand Tour disrupts the viewer’s sense of time and place, much like the literary works it references.
Homer’s Odyssey tells the tale of Odysseus’ perilous journey home after the Trojan War, filled with trials imposed by gods, monsters, and the elements. Along the way, he faces the Cyclops, the Sirens, and a descent into the Underworld, each obstacle reinforcing themes of resilience, ingenuity, and the quest for identity. Gomes’ film channels these themes but updates them for a contemporary audience. Edward, much like Odysseus, must navigate his own trials—his journey marked not by mythical beasts, but by the complex web of relationships and personal discoveries that define the human experience.
Drawing on James Joyce’s Ulysses—a modern reimagining of the Odyssey set in Dublin—Gomes creates a character that is not so much a modern-day Odysseus, but rather a reinterpreted figure within this literary tradition. Edward’s counterpart, played by Gomes’ own Molly, recalls Joyce’s Molly Bloom. Like Joyce’s character, Gomes’ Molly is a singer, and her own journey in the film mirrors Penelope’s role in Homer’s epic—faithful, steadfast, and determined to reunite with her partner, even if it means following him across the globe.
The film’s structure plays with time in a way that demands a new kind of attention from the viewer. Memory, dreams, and imagination become the film’s guiding forces, blending past, present, and future without the need for clear explanations. This approach makes Grand Tour an experience of beautiful confusion—strange, frustrating, and intriguing in equal measure. As you watch, you are urged to embrace its unpredictability and complexity.
Ultimately, Grand Tour is a celebration of cinematic innovation and psychological depth, combining the timeless narrative elements of Homer and Joyce with a contemporary visual style that challenges the conventions of storytelling. The film is as much about the journey of its characters as it is about the journey of the viewer’s own understanding. Its strange beauty lingers long after the credits roll, prompting discussion and introspection.
For those seeking a cinematic experience that pushes the boundaries of storytelling, Grand Tour is sure to leave you thinking—and, perhaps, yearning for a return to Homer’s Odyssey or Joyce’s Ulysses to further explore the complexities of identity, homecoming, and human resilience.
Grand Tour will be screening at the Perth Festival from March 3-9 at the UWA Somerville.
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