The rejection of AI and CGI becomes the best marketing tool for Nolan’s ‘The Odyssey’

What did you think of the ‘Avengers: Doomsday’ trailer‘? There is something in it that sounds like “already seen”, and it is not just what is guessed about an argument that seems to be going to follow point by point what ‘Endgame’ already told. There is also something in that aesthetic of pure CGI, where there is not a stage, not a special effect, not even a single suit that is not a digital invention, that does not smell of the past. Because paradoxically, the success of Nolan’s ‘The Odyssey’ has brought with it a digestive stimulant for CGI fatigue: the future is analog. 140 kilos of camera. Christopher Nolan shot ‘The Odyssey’ with IMAX cameras, something no non-documentary feature film had done before. The camera weighs more than 140 kilos, and is enclosed in a soundproof casing, because without it it makes noise, according to Matt Damon himself“like a mixer stuck to your face.” That casing allowed Nolan to film intimate dialogue with the machine a few centimeters from the actors. The developed roll weighs even more: each 70mm copy exceeds 360 kilos and measures 2.1 million feet. The camera costs between $40,000 and $50,000 to make, and moving it requires a forklift. The man likes it. The director has been betting on the format since 2008. ‘The Dark Knight’ was the first Hollywood film to use IMAX cameras for action scenes, and ‘Oppenheimer’ premiered the first 65mm black and white IMAX roll. ‘The Odyssey’ comes full circle having been filmed entirely with cameras of this type. Yes indeed: only 41 theaters worldwide can project it in its 1.43:1 IMAX 70mm format, which has generated complaints of “elitism” and also an obvious FOMO effect. Exclusivity, here, sells as much as the technique itself: the more difficult it is to see the film as Nolan wants it to be seen (a phrase that already has meme status), the more it is commented on. The dust that is noticeable. The analog aesthetic not only affects the format, the celluloid (in this case, as can be seen, very expensive to shoot), but also the visual finish of the film itself. Nolan wantedlayers of real dirt in the costumes and sets that looked like places that resembled those that were really lived in at the time the film portrays. Dirty and tangible realism was sought at all times, not CGI gloss, and that search for physical texture led the team to shoot in Morocco, Greece, Italy, Iceland and Scotland over 91 days, and to upload the actors to authentic boats. Likewise, Nolan used practical effects whenever he could: he wanted the monsters, gods, and storms of mythology to feel fanciful but believable, and he wanted the crew’s fatigue in the storms to be noticeable because it was real, not simulated in front of a green screen. The Trojan horse. While promoting the film, Nolan called generative artificial intelligence a “Trojan horse,” in an interview. Days before he had said he felt encouraged by the speed with which the young public rejects the worst visual side of the phenomenon. Nolan described this rejection as “rapid and massive” and said he had never seen anything like it in the face of a supposed fundamental technological leap. As proof, he cites the commercial success among young audiences of low-budget films with practical effects like ‘Obsession’ or ‘Backrooms’ and in the process turns it into the commercial argument for his own film. The strategy. Nolan is not adopting a traditionalist or old-fashioned stance, quite the contrary: he knows that a vision of ‘The Odyssey’ full of CGI and effects that, aesthetically, will be outdated within a few months, is the least intelligent way to adapt a classic text. Analogue (whether in the medium or in the aesthetics) not only guarantees timelessness but, in these times, is equivalent to a certain ambition and aesthetic luxury: previously only blockbusters could afford CGI. Today it is the opposite: digital is the economic resource, it is the B series that turns to computers to solve any problem. Nolan has been fortunate that Disney, which has declared that AI is one of the three pillars of its growth strategyhas released a video for ‘Doomsday’ that guarantees more of the same with the usual aesthetic. Paradoxically, Nolan has turned to the classics to suggest that the winds of change are blowing… towards what worked so well long ago. In Xataka | Christopher Nolan explains why ‘The Odyssey’ does not deviate from the IMAX format for even a single minute

The definitive map of Ulysses’ journey in ‘The Odyssey:’ Christopher Nolan’s film, explained interactively

Today is the day. Today ‘The Odyssey’ premieres. Three years have passed since Nolan’s last breakthrough in traditional cinema, ‘Oppenheimer’. And this Homeric feat aspires to nothing less. The new pretty girl from Universal Pictures that uses the most advanced IMAX technology is already placed in the highest position in the career of a director, Christopher Nolan, author of gems such as ‘The Dark Knight’, ‘Memento’ or ‘Interstellar’, who has not surrendered to anything other than his personal vision. Because yes, to the complaints of resorting to white marble instead of classical polychrome, to that mania of making actors very sexy with studded leather and stylized helmets, comes the question of historical reconstruction. Can? Maybe. We have made our attempt and we have something more historically accurate: a map. But not just any one: a dynamic tour that includes the entire journey point by point and draws connections between facts and fictions. Let’s travel together through the great epic of the Mediterranean. We leave the editorial debate to authorities such as Vinzenz Brinkmann, Barry Strauss or Robin Lane Fox. When Homer wrote the Odyssey, probably between the years 750 and 700 BC. c.the map of the Mediterranean ended long before where Europe ends today. Beyond were the monsters, capricious gods, impossible islands and an ocean that no one dared to describe. Two thousand seven hundred years later, the big question remains the same: where did Odysseus really travel? And, why not ask, did it ever reach what is now Spain? The short answer is no. The long one is much more fascinating. We have the historiography of Strabo, Herodotus, Avienus, Pindar, Apollonius of Rhodes, Diodorus Siculus and Pliny the Elder. Their references explain why Gibraltar, Tartessos and southern Hispania ended up being incorporated into the Homeric imagination without Homer having ever mentioned them. That part is often overlooked but we want to review it thoroughly. Let’s travel to the key moment. It all started with a war that (maybe) did happen The Odyssey It starts when the Trojan War has already ended. Ulysses—or Odysseus, as you wish—tries to return to Ithaca after ten years of combat. This is the more or less approximate historical chronology so that we can situate ourselves: c. 1250-1180 BC. C.: possible Trojan War. c. 1170 BC C.: journey of Odysseus. c. 750-700 BC C.: Homer writes the Odyssey. 7th-6th centuries BC. C.: the Greeks arrive in Iberia. Today’s archaeologists rely on a real conflict. Excavations at Hisarlik in Türkiye have shown that Troy existed and that one of its cities It was destroyed around 1200-1180 BC. c., right at the end of the Bronze Age. It is difficult to know if Achilles, Hector or Ulysses existed, but the historical scenario is compatible with a great war between Aegean kingdoms. If that war inspired the poem, Ulysses’ journey would have occurred around 1170 BC. C. However, the story we know was written about four centuries later, when many of those memories had already been mixed with legends. Ten years wandering around the Mediterranean As any reader remembers, Ulysses’ journey begins in the ruins of Troy: “Talk to me, Muse, about that man of multiform genius who, after destroying the sacred city of Troy,” declaims the first verse of Canto I. Violently destroyed around 1180 BC. C., Troy VIIa It is the main candidate for having inspired the conflict, according to the German Heinrich Schliemann, who decided to search for the real place in 1871. From there he sails to Ismaro, the city of the cicones, on the present-day coast of Thrace. Then the lotus eaters arrive, whose fruit makes one forget the desire to return home; the island of the cyclops Polyphemus; the kingdom of Aeolus, guardian of the winds; the laestrygonians, anthropophagous giants; the island of Circe; the descent into Hades; the passage alongside the sirens; the strait guarded by Scylla and Charybdis; the island of the Sun, where his men sacrifice the sacred cattle of Helios; the island of Calypso, where he remains captive for seven years; the land of the Phaeacians and, finally, Ithaca, the small island in the Ionian Sea that some authors insist on not pairing with the Ithaca of the work. Perhaps it was Leucade, Kefalonia, Duliquio, or Corfu? It doesn’t matter to us. The reality is that Odysseus’ route is estimated between 3,800 (from 40º East, that is, Troy, to 6º West, Hades of Gibraltar) and 4,650 kilometers, in an area of ​​more than five million km²perfectly navigable in a much wider sea. Of course, there are proposals for locations that even talk about Ireland, the Black Sea or the Azores. Or that the nymph Calypso kept Ulysses locked up on Parsley Island for seven years. What is clear, because the book says so, is that the journey takes ten years, twenty if we count from the departure to the return: when he returns, his son Telemachus is already an adult and barely retains memories of his father. I repeat it in the list, which is easier this way: Troy Ismaro (cicones) Country of the lotus eaters Cyclops Aeolus Laestrygonians Circe Hades Mermaids Scylla and Charybdis Trinacia Ogygia Esqueria Ithaca Many of these places can be related to real scenarios. The mermaids are usually located off the coast of Campania. Scylla and Charybdis are reminiscent of the Strait of Messina, between Sicily and Calabria. The island of Circe has been identified with Mount Circeo, south of Rome. Other episodes remain open because Homer never offers precise coordinates and whoever reads a specific point on his narrative map is because, too often, it is contaminated by some proximity bias. Your Mediterranean, more than an atlas, is a sandbox. Gibraltar was the true end of the world Even Spain is part of that playground. When Homer wrote the Odysseythe Greeks knew the western end of the Mediterranean, but little else. But between the 7th and 6th centuries BC. C. they began to sail further and founded colonies such as Emporion … Read more

The IMAX format of Nolan’s ‘The Odyssey’ is an ambitious experiment. So much so that in most cinemas the film will be seen mutilated

The official website of ‘The Odyssey’ by Christopher Nolan has a very unusual function: in the Explore Formats sectiona selector allows you to see the same trailer in six different formats, from the almost perfect square of IMAX 70mm to the wide panoramic view of conventional 35mm. It is a promotional decision that reinforces the idea that Nolan is extraordinarily concerned with image and the format of your film. But… what if what this gadget transmits is just the opposite? The formats. What changes between one format and another is the proportion of the image, the shape of the plane. In IMAX 70mm, the format in which the film was originally shot, a person is in the center of the screen, with “air”, or a part of the image without vital information, above and below; In the 35mm format that most audiences will see in conventional cinemas, that same shot appears cropped from above and below, eliminating that superfluous information. You just have to compare the trailer on the film’s website with the tools that are provided to us: the story is the same but the image is, literally, from two different films. Aspect Rancio Facts. It is worth clarifying a little what this is aspect ratio, the relationship between width and height of the image. Basically, it determines what the viewer sees and what the director leaves out of the frame. It is, basically, the minimum compositional decision in cinema. And the framing differences can be very noticeable: in the 2.39:1 widescreen version, a considerable part of the image is cropped compared to the IMAX 70mm in 1.43:1. Only a few theaters in the world can show the film in IMAX 70mm, so many IMAX theaters present the films in 1.90:1, which is the second largest format, much closer to the traditional scope. The third in size is the standard 70mm at 2.20:1, which is not very different in height from the traditional 2.39:1 35mm widescreen. In other words: the IMAX 70mm in 1.43:1 shows up to 40% more image than standard screens. Translated to the plane: what is cut out in the conventional distribution are not the sides (the width is preserved) but the top and bottom of the frame. The 70mm horizontal runs across the projector rather than vertically, creating that monstrous frame size. But it’s not just a question of seeing more or less, but of what is seen and what is not. Or to put it another way: if Nolan assumes that we are not going to see 40% in widescreen… has he included a 40% superfluous image in IMAX? And this affects planning, of course: in a very close-up of a face in IMAX, will we see only the actor’s face in conventional cinemas, without a stage around it? Cinephile elitism. On July 17, 2026, when ‘The Odyssey’ hits theaters, the viewer’s experience will depend, to a large extent, on where they live. Only 30 theaters in the world are equipped to offer the IMAX 70mm format, and none of them in Spain. There are rooms here that project in 70mm and there are also IMAX rooms, but none have both at the same time. The only cinema in the country that will offer the two options, although separately, are the Palafox Cinemas in Zaragoza: their room 4 will project in 70mm five-perforations, while on July 17, coinciding with the premiere, they will inaugurate a new IMAX room. Only theaters with IMAX 70mm can reproduce the film exactly as it was photographed. The other versions preserve much of the visual presentation, but crop or reduce parts of the original image, as we have seen. That has sparked a debate that has been going on for weeks. circulating on social networks: There is talk of elitism and that Nolan is turning his back on his audience, and the reason is that the planning, as we have seen, changes drastically from one format to another… and the frames have been planned for a very minority format. The framing is what you are looking for. Because there is a question that Nolan has not answered: did they compose each shot also thinking about the 2.39:1 crop? When Nolan was mixing formats in ‘Dunkirk’ or ‘Interstellar’ (using IMAX only for certain sequences and the rest in scope), the composition of each scene was planned for its specific format. The visual leap between square and panoramic formats was part of the film’s language: the horizon literally widened in moments of maximum tension. The decision to shoot 100% of ‘The Odyssey’ in IMAX, instead of the usual 60-70% in his previous films, means that the dialogue shots between two actors are also in 1.43:1. In 2.39:1, those same shots will lose vertical information from the original frame. The premiere on July 17 will reveal, with the support of the public, whether it has paid off for Nolan to shoot, literally, for thirty theaters around the world. In Xataka | There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

There are people very angry about the inaccuracies in Nolan’s ‘The Odyssey’. But not because of the uniforms: because of the diversity

The most expensive and ambitious film of the summer of 2026, ‘The Odyssey’ by Christopher Nolanhas generated a controversy that already sounds old, but that the conservative factions of the Internet never tire of recovering again and again. The African-American Lupita Nyong’o as Helen of Troy and, possibly, the trans actor Elliot Page as the Ghost of Achilles are two casting choices that have defenders of fidelity to the original text infuriated. Delivery and delivery. The first film of Nolan’s career shot entirely on 70mm IMAX cameras hits theaters on July 17. Nolan, very cleverly, announced his casting practically in full (Matt Damon is Odysseus, Anne Hathaway is Penelope, Tom Holland is Telemachus, Zendaya is Athena, Charlize Theron is Calypso, Jon Bernthal is Menelaus, Benny Safdie is Agamemnon and Robert Pattinson is Antinous) and left out two additions that he knew would make a certain part of the internet up in arms. Lupita Nyong’o as Helen of Troy has been announced later, and Elliot Page as the Ghost of Achilles has not yet been officially confirmed. The rich cry too. The negative reaction came, in large part, from X, with Elon Musk as the main amplifier. The owner of the platform accused Nolan of having chosen these actors to satisfy the diversity quotas of the Hollywood Academy, summarizing his thesis with the phrase “He wants the awards“(He wants the prizes). Kevin Sorbo, known for playing Hercules in the 1990s television series (not exactly the best example of adapting classic myths faithful to the sources) joined the criticism. According to has been countedare recurring themes in Musk’s speech, who, for example, published content alluding to racial theories or anti-immigration conspiracies on 26 of the 31 days of January 2026. We have already seen it. We have seen this reaction on numerous occasions, always from the same sector of the public, and always criticizing casting choices to make it diverse. Disney has suffered it with the latest versions of ‘Snow White’ and ‘The Little Mermaid‘, he made a considerable mess with ‘The Lord of the Rings: The Rings of Power‘ and his racialized elves. And the Star Wars universe has been enduring these criticisms since the premiere of ‘The Force Awakens’. Troy, bad example. The film that Musk and a good part of his followers invoke as a counterpoint is ‘Troy’, Wolfgang Petersen’s peplum starring Brad Pitt that was released in 2004. There were those who did direct comparisons between Petersen’s version and Nolan’s. But there are countless problems here. ‘Troy’ adapts ‘The Iliad’, not ‘The Odyssey’, and does so very loosely: Patroclus becomes Achilles’ cousin rather than his companion; Briseis kills Agamemnon, destroying the ‘Oresteia’ in the process; Andromache and Astyanax flee through a system of tunnels; compresses a ten-year war into a few weeks; and completely eliminates the Olympian gods. About the Oscars. The most widespread accusation is that Nolan is diversifying the cast to meet the Academy representation and inclusion standardsapproved in 2020 and effective from 2024. The reasoning seems solid at first glance. But the Academy system works differently: a film has to meet two of four possible standards. Standard A refers to the cast, but standards B, C and D cover the creative team, distributor training programs and the composition of the marketing teams. It is perfectly possible to meet the criteria with Caucasian actors. And there is one’s ownOppenheimer‘ (entirely white cast, seven Oscars including Best Picture and Best Director) to prove it. How did he get it? Its costume designer, production director, editor and makeup manager were women; Universal, the distributor, has scholarship programs and marketing managers from underrepresented groups, including a woman as president (Donna Langley) and a black man as head of domestic marketing (Dwight Caines). That accusation falls by itself. Nolan’s response. The director, without needing to mention Musk’s tears, alluded to the controversy in an interview. Nolan defended the historical rigor of the production (including the blackened Mycenaean bronze of the armor, which some users had compared to Batman’s suit) and justified the casting of rapper Travis Scott as an aedo with an argument of artistic coherence: he wanted to emphasize that ‘The Odyssey’ was transmitted as oral poetry, and that rap is the contemporary equivalent of that tradition. The intention, according to the director, is not that the public agrees with each decision, but rather that they do not think that the material has been taken lightly. In Xataka | “It’s not completely understood”: Christopher Nolan admits the harsh reality about ‘Tenet’ and proposes a solution

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