New film reignites debate over Parthenon Marbles 

Just over a hundred years ago (September 1915), Stonehenge was sold at auction for £6,600. Luckily, the purchaser was a public-spirited individual by the name of Cecil Chubb, who later donated the monument to the nation. 

But what if someone else had bought it on that fateful day? And what if that person had then shipped the iconic stones abroad? 

There is a precedent for such things – in 1926, Oakwell Hall in Birstall (famously used as ‘Fieldhead’ in Charlotte Bronte’s novel Shirley and which also has connections to the English Civil War) was rumoured to be on the verge of being sold to a wealthy American and shipped abroad so it could be rebuilt brick-by-brick. That sale was also averted, again thanks to philanthropic individuals. 

Legacy of empire

Had either structure been lost, there would surely today be an outcry and calls for their return. 

This is the point made in a new documentary, The Marbles, which explores the controversial removal of the Parthenon sculptures from Greece and the centuries-long campaign for their return. “If Stonehenge had gone to America, for example, we’d never have got it back,” says David. “There would have been an outcry – and rightly so.” 

His point is clear: Britain’s possession of the Parthenon Marbles – also known as the Elgin Marbles and currently housed in the British Museum – is not just a historical quirk, it’s a legacy of empire, entitlement and cultural appropriation. 

Calls for restitution

His film, which premieres today (October 30, 2025) at the Central Scotland Documentary Festival and releases nationwide on 7 November, features contributions from actor Brian Cox, Neil Curtis (Head of Museums and Special Collections at the University of Aberdeen) and Patricia Allan (Former Curator of World Cultures at Glasgow Museums), among others. 

It traces the journey of the sculptures from their removal by Lord Elgin in 1801 to present-day calls for restitution, amplified by figures such as Melina Mercouri and Jeremy Corbyn. The documentary also highlights the role of Scottish institutions in leading the way on cultural repatriation, an approach which has since been copied by museums in Sheffield and Manchester but, as David notes, not The British Museum, which he says is now “becoming an outlier.” 

David, who previously directed Getting Away With Murder(s) – voted the Guardian’s best documentary of 2021 – is no stranger to difficult subjects. He began work on The Marbles in 2008, self-funding the project and continuing through personal health challenges, including a recent cancer diagnosis. “I had to finish it while and how I could,” he says. 

'200-year-old myth'

The film argues that the British Museum and successive governments have perpetuated a 200-year myth about the legality of the Marbles’ acquisition. “The Ottoman Empire kept meticulous records,” David says. “There’s no evidence of any sale. The Turks have gone on record saying no sale ever occurred.” 

David, who was awarded an honorary doctorate in December 2024 in recognition of his significant contributions to supporting and promoting cinematic arts both in Bradford and internationally, argues Britain risks becoming “the old man of history”, adding: “Other nations are owning up to what they stole. We need to do the same.” 

The documentary also touches on the 1963 British Museum Act, which prevents the return of artefacts without an act of Parliament – a legal barrier David believes could be overcome with enough political will. 

He adds: “In a fractured world, we must treat our friends with respect. Greece is a friend. It’s time to do the right thing.”  

Ownership of the sculptures is discussed in detail on The British Museum’s website.