Nolan Solves IMAX's 20-Year Challenge

Proven by the Success of the All-Film 'Odyssey'
Mirror Trick and Soundproof Casing Overcome Challenges in Dialogue Scenes
A Bold New Strategy for Movie Theaters in the Streaming Era

Director Christopher Nolan took on a challenge that the industry had struggled to solve for nearly 20 years: filming both action and dialogue exclusively in IMAX film for the movie "Odyssey." The film's box office success demonstrates that this bold approach resonated with audiences.

Film still of the movie 'Odyssey'.

This decision was made possible thanks to Paul Thomas Anderson's "The Master" in 2012. Its commercial success in the art film market opened up film projection as an option for other directors as well. Since "Interstellar" (2014), Nolan has released all his films simultaneously in both 70mm and 70mm IMAX, while Quentin Tarantino filmed "The Hateful Eight" (2016) in the even rarer Ultra Panavision 70 format. More recently, "One Battle After Another" (2025) was shot on VistaVision negative film and produced as a 70mm print, reviving the nearly forgotten VistaVision process.

"Odyssey" is less a continuation of these trends and more of a break—this is the first time a feature film has been shot entirely using an IMAX film camera. Until now, IMAX cameras have only been used for action or landscape sequences due to their loud operation. For dialogue scenes, quieter camera formats had to be mixed in. Every Nolan film from "The Dark Knight" (2008) through "Oppenheimer" (2023) was created with this hybrid approach.

Movie still cut from "Odyssey".

The reason for breaking with this convention stems from the very subject matter: mythology. Nolan has long lamented that existing mythological films have not received blockbuster-level budgets or credibility, and he aimed to fill that gap with "Odyssey." To truly convey the vastness and terror of Odysseus's journey, he believed the screen had to immerse the audience to the extent that the boundaries of the theater vanished. Presenting boundless seas and unfamiliar terrains on a monumental scale—this was the primary purpose behind making full use of IMAX.

In fact, the most difficult part of achieving this goal was not the action scenes but the dialogue. Conventional IMAX cameras are bulky and noisy, making close-up shots of actors' faces nearly impossible. To overcome this, Nolan and cinematographer Hoyte van Hoytema devised a method of positioning a mirror next to the camera. This allowed the actors to perform to the mirror, so their reflections were captured as if they were making direct eye contact with the lens. Thanks to this approach, Matt Damon noted, eye lines could be positioned much closer to the lens. In addition, newly developed soundproof casings meant that even at a distance of just 30 centimeters from an actor’s face, whispered lines could be recorded clearly.

Movie still cut from "Odyssey."

IMAX offers a sense of vastness in landscape scenes, but in dialogue sequences, it brings the opposite: an intense feeling of intimacy. Enlarged expressions fill the massive screen, giving audiences the sensation that they share the space with the characters. This effect is most powerful in emotionally heavy moments, such as the reunion of Odysseus and Penelope. By expanding the use of IMAX beyond action to emotional performances, this film marks a significant departure from Nolan’s previous IMAX projects.

The technological gamble paid off. In its opening weekend, "Odyssey" grossed 263.7 million dollars worldwide, with IMAX screenings alone accounting for 52 million dollars. That represents 20% of the total box office and stands as the highest-grossing IMAX opening to date. Although pure 70mm film screenings generated only 6.1 million dollars due to the fact that there are just forty-one theaters worldwide capable of showing it, the result is a dense performance given the limited number of venues.

The film’s box office trajectory is also unique for a blockbuster. Typically, ticket sales decline by 50–70% in the second week after release. However, "Odyssey" saw only a 27% drop, bolstered by strong word of mouth and repeat viewings. As a result, IMAX and distributor Universal extended the 70mm screenings in New York and Los Angeles, which were originally set to end on the 19th, through mid-next month.

Still cut from the movie "Odyssey".

In reality, the perceptible differences between formats are not dramatic. Comparisons in North America suggest that image quality does not differ significantly between versions. Since Nolan’s use of color is already restrained, there is less fluctuation in tone due to film chemistry than is seen in the works of other directors. In contrast, reactions to the sound are markedly polarized, with the consensus being that the IMAX version's layered sound far surpasses other formats.

A similar situation is observed with aspect ratios. Nolan shot this film in 1.43:1 70mm IMAX, while the 35mm anamorphic version is a much wider 2.39:1. Although this results in a cropped top and bottom, most viewers report that it does not make a major impression. This is because the IMAX version is framed with minimal excess space, yet Nolan still took alternate versions into account when composing each frame.

Still cut from the movie "Odyssey."

Ultimately, both in terms of image quality and aspect ratio, the film was designed so that there is no significant sense of loss no matter which version is viewed. At a time when streaming and short-form content threaten the theater experience, such exhibition formats are enticing audiences back to cinemas with experiences that can't be replicated at home. For the remainder of the year, IMAX plans 70mm screenings for "The Dog Stars," "Resident Evil," "Street Fighter," "Godzilla Minus Zero," and "Dune: Part 3." "Odyssey" is likely to remain a leading case demonstrating that this approach is not only artistically but also commercially viable.

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