This started off as a studio initiative to develop some creative ideas that don't always get the space when dealing with constant commercial projects. This initially started with some atmospheric effects in Blender with water and sky environments, inspired by the Turner wing in the Tate gallery London. 

Turner initially started with neoclassical interests before concerning himself with landscape. Somehow that conjured up an alliteration of styles and processes regarding Minoan sculpture, Chris Foss, V.A.L.I.S, Odysseus, Roto Reliefs and Mondrian's later paintings.

We thought that it was an interesting intersection of technology and narrative in which motion graphics have unique properties to occupy.

The film stages Odysseus’ return to Ithaca as a point of convergence, where histories spiral into a singular moment. Through motifs like concentric rings, grid patterns, and the VALIS-like beam, time is layered, recursive, and ultimately subject to resolution. A Minoan sculpture, rotates not as a pristine ideal but as a transformed relic—forgotten, weathered. Reframing the body from canonical perfection to a witness of erosion.

At the end of it all Penelope’s gaze anchors the ethical pose of the film. She does not merely witness Odysseus’ return—she reads it. Her aged face becomes a ledger of consequence, responding not to mythic scale but to personal choice. The suitors’ deaths, the years of absence, the masks worn—all are tallied in her silence. The film’s moral weight lies not in its resolution, but in its refusal to restore the past to glory. Instead, it honors transformation, erosion, and the quiet power of recognition. Ethics here is not declared—it’s revealed in what remains.