Christopher Nolan’s The Odyssey — the first feature film ever shot entirely with 70mm film IMAX cameras — is proving that bigger really is better when it comes to the cinematic experience. But there’s a catch: almost nobody can actually see it the way Nolan intended.
The film, which stars Matt Damon as Homer’s legendary Greek hero, has drawn rave reviews for its breathtaking scale and immersive visuals. But as The Verge’s Charles Pulliam-Moore reports, the gap between watching it in standard 35mm versus IMAX is so pronounced that it fundamentally changes how the story lands.
IMAX theaters capable of projecting 70mm film remain rare worldwide, with only about 40 locations capable of showing Nolan’s The Odyssey in its full format. (Image: ddzphoto / Pixabay)
The IMAX Difference
Pulliam-Moore describes seeing the film twice — first in standard 35mm, then in IMAX — and coming away with two radically different experiences. In 35mm, the film is projected in a 2.39:1 widescreen aspect ratio, while standard IMAX screenings offer a 1.90:1 image. True 70mm IMAX, at a towering 1.43:1 ratio, delivers even more.
The extra vertical real estate isn’t just cosmetic. In scenes featuring the Cyclops Polyphemus — played by Bill Irwin in a striking physical performance — the IMAX presentation reveals subtle nuances that are simply cropped out in standard screenings. The Cyclops has to hunch to keep his head from hitting the cave ceiling, a detail that sells the creature’s immense scale in a way the 35mm version cannot match.
Similarly, the sea monster Scylla’s attack on Odysseus’s men takes on a whole new sense of dread when the full height of Nolan’s frame reveals exactly how she’s able to snatch victims from the cliffs above before anyone even spots her.
A Format in Short Supply
The problem is accessibility. There are only about 40 theaters worldwide capable of projecting 70mm IMAX film — roughly 25 of them in the United States. This scarcity means the vast majority of moviegoers will never experience The Odyssey as its director intended.
Speaking to Variety, IMAX CEO Richard Gelfond explained that the company has largely focused on retrofitting old projectors rather than building new ones, as producing new 70mm projection hardware has proven challenging. Few exhibitors are willing to shoulder the construction costs required to build the massive 1.43:1 screens necessary for true 70mm presentations.
More Than Marketing Hype
Some critics have accused Nolan of format elitism, arguing that the scarcity of 70mm IMAX screenings is a cynical marketing tactic aimed at his devoted fanbase. But Pulliam-Moore’s report suggests otherwise — the difference between formats is genuinely transformative, not merely cosmetic.
The article notes that Nolan’s use of 70mm IMAX cameras throughout the entire production — a first for any feature film — creates an immersive quality that most modern blockbusters simply lack. Whether it’s the claustrophobic tension inside the Trojan horse or the dizzying scale of the Laestrygonians, every frame is packed with visual information that IMAX’s expanded canvas brings to life.
The Future of Large-Format Cinema
If The Odyssey performs well at the box office — and early indicators suggest it will — it could make a strong economic case for theater chains to invest in 70mm IMAX upgrades. But for now, the format remains a boutique experience reserved for a lucky few.
As Pulliam-Moore puts it, “There aren’t that many other directors who could get people journeying across the country just to see one of their features. It also helps that the movie is actually worth seeing, especially in IMAX.”
For those lucky enough to live near a 70mm IMAX theater, The Odyssey is currently playing in select locations. For everyone else, even a standard IMAX screening — at 1.90:1 — still offers a dramatically better experience than the standard 35mm cut.
The Odyssey is now playing in theaters worldwide.