In one of the stage productions I have seen - which also went for a homoerotic subtext, but one-sided on Antonio's part - the final tableau was, after Portia, Bassanio and everyone else had left, with Antonio alone on one side of the stage and Shylock, with packed suitcases and apparantly about to leave Venice, on the other; the two outsiders. But what the film added was really connecting Portia's development to this as well; at the end, you get the idea that while she still loves Bassanio, she is disillusioned about his motives.