Christopher Nolan has never been one to take the conventional route in filmmaking. For Tenet, he famously crashed a real Boeing 747 instead of relying on computer-generated imagery (CGI). While making Interstellar, he worked with physicists to generate scientifically accurate visualisations of the fictional black hole Gargantua using Einstein's equations rather than creating a purely artistic representation. The resulting visual effects earned DNEG an Academy Award, and years later, scientists observed striking similarities between Nolan's depiction and the first real image of a black hole captured by the Event Horizon Telescope.
It is therefore fitting that Nolan chose to push another cinematic boundary with The Odyssey. The film marks the first time a feature-length movie has been shot entirely using IMAX film cameras. The achievement is not simply a creative milestone but also a major technical breakthrough.
The challenge no one had overcome
IMAX 70mm film cameras have existed since the 1970s. Nolan has used them extensively since The Dark Knight (2008), gradually increasing their presence in films such as Interstellar, Dunkirk and Oppenheimer. However, they were always limited to selected sequences rather than an entire film.
The primary obstacle was not cost but practicality.
Traditional IMAX film cameras are exceptionally loud because of the mechanism required to pull large-format 70mm film through the camera at high speed. The resulting noise has often been compared to that of a lawnmower operating beside the actors, making it nearly impossible to record clean dialogue during intimate scenes.
To overcome this limitation, Nolan's team collaborated with IMAX engineers to develop a custom soundproof enclosure known as a "blimp."
The enclosure effectively insulated the camera's operating noise, allowing actors to perform close to the camera while dialogue was recorded clearly. However, the solution significantly increased the camera's size and weight, with the complete setup reportedly weighing between 300 and 400 pounds, requiring a crew of six people to move it.
Solving one problem created another
The addition of the soundproof housing introduced an unexpected challenge.
The large enclosure physically blocked actors from seeing one another during conversations, making natural eye contact impossible.
To address this, Nolan and cinematographer Hoyte van Hoytema mounted angled mirrors on both sides of the camera housing, enabling performers to see each other's reflections while maintaining correct eyelines during filming.
The demands of shooting on IMAX film
Filming on IMAX also presented logistical challenges.
Each IMAX 70mm film magazine holds enough film for only about three minutes of footage before requiring replacement. As a result, filming had to pause frequently for film reloads, regardless of whether an emotional performance was underway.
Actor Tom Holland later revealed that he initially assumed Nolan was dissatisfied with his acting whenever filming stopped, only to discover that the interruptions were simply due to the camera running out of film.
Across the film's 91-day production schedule, which spanned Morocco, Greece, Italy, Iceland and Scotland, the crew reportedly used more than two million feet of IMAX film—equivalent to approximately 610 kilometres of celluloid.
A very limited number of cameras
The achievement becomes even more remarkable considering the scarcity of IMAX film cameras.
Only eight or nine IMAX 15/70 film cameras are believed to remain in active use worldwide.
Their limited availability makes them valuable production assets, particularly during large-scale action sequences. Nolan himself has damaged three IMAX cameras during previous productions, including one famously struck by Batman's Batpod while filming The Dark Knight Rises.
Watching the film presents another challenge
Completing the production solved only half the problem.
Although The Odyssey was filmed entirely in IMAX 15/70 format, only 41 cinemas worldwide are capable of projecting the film exactly as Nolan intended.
Out of an estimated 200,000 cinema screens globally, those 41 venues represent just 0.02 per cent of all theatres.
Demand for these screenings has been exceptionally high, with many shows selling out almost immediately and resale ticket prices reportedly exceeding $1,000.
Of the 41 theatres, 24 are located in the United States and nine in Canada, meaning North America accounts for more than 80 per cent of the world's true IMAX film venues. The remaining theatres are spread across the United Kingdom, France, Australia, Belgium and the Czech Republic.
Despite having around 30 commercial IMAX screens, India does not currently have a theatre capable of projecting the film in its native 15/70 IMAX format.
Why pursue such an ambitious format?
The obvious question is why Nolan would create a film that only a handful of cinemas can fully showcase.
Nolan has previously explained that true IMAX creates an experience unlike any other.
Speaking to the Associated Press, he said the format allows "the screen to disappear," filling the viewer's peripheral vision and producing an immersive effect comparable to three-dimensional cinema, but without requiring special glasses.
Whether the enormous technical effort and limited accessibility justify the approach remains open to debate.
For Nolan, however, the project represents the fulfilment of a vision he has pursued since his teenage years. Achieving it required years of engineering innovation, technical experimentation and persistence.
Today, only 41 theatres can present The Odyssey exactly as Nolan envisioned. Whether this becomes the beginning of a broader shift in large-format filmmaking or remains a singular cinematic achievement remains to be seen.
For now, Nolan has demonstrated that technical innovation can continue to expand the possibilities of filmmaking—while reinforcing his belief that technology ultimately exists to serve the story.
