Shakespeare’s tragedy of a noble Roman general, successful in battle and encouraged to stand as a consul, might not appear to be an obvious candidate for a modern setting given the central character’s open, visceral contempt for democracy and the rarity of a military careerist becoming a politician nowadays, but Fiennes makes it work by transporting it to a Balkan setting in which communal violence is rife.

However, that is also a sleight of hand as the real subject is not the antagonism between small states but the class conflict within the state between the senatorial and plebeian orders, with Coriolanus echoing the elite cry heard down the ages that the people do not deserve their generals. In context then, this is a film about Iraq and the growth of public scepticism over wars of choice.

Though expertly choreographed and shot, the film is a very stagey affair, with Shakespeare’s words in all their glory and obscurity and a blue-chip supporting cast of thespians. What makes it exciting is the quality of Fiennes’ performance: in particular his burning rage and implacable sense of rightness, even though he is foolishly wrong in his choices. Though it didn’t pick up any notable awards, it is a rewarding version of the play and one of the best recent Shakespeare adaptations.

‘Fiennes’ directorial debut is a triumph.’ The Guardian.