Odyssey

Christopher Nolan explains why he filmed ‘The Odyssey’ in IMAX

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Christopher Nolan has not chosen the 65mm IMAX format for ‘The Odyssey’ as a simple technical boast. In reality, for this director it is a narrative tool at the service of a mythological scale story. Homer’s poem tells of endless sea voyages, storms, monsters and a journey that tests the limits of human endurance. Nolan wanted the viewer feel that immensity in a physical waynot just intellectual. And the only way to achieve this, as the director himself explained, was to completely fill the visual field of the movie theater. This ambition explains why, unlike previous works such as ‘Batman: The Dark Knight’, ‘Interstellar’ or ‘Oppenheimer’where IMAX is reserved for certain sequences of great impact, in ‘The Odyssey’ this format is maintained throughout the entire footage. Nolan has thus broken his own habit of alternating formats according to the intensity of each scene. The Homeric epic demands that the feeling of grandeur never wane, not even in the most intimate passages of the plot. IMAX’s 1.43:1 aspect ratio, much more vertical than the usual widescreen image in commercial cinema, is the key to this decision. By filling the viewer’s peripheral vision, this format generates a sense of depth similar to 3D without the need for glasses, something Nolan considers essential to convey the magnitude of the landscapes and battles. The director has summed up his philosophy with a forceful phrase: it sought to offer the public “something new and exciting”, an experience that no other format could give with the same intensity. IMAX demands as much as it promises The heart of this creative ambition is an exceptional negative. The IMAX film format, technically known as 15/70, uses 15 perforations per frame compared to the usual four for 35mm, which increases the size of the negative tenfold. The result is a horizontal resolution that is around 18,000 theoretical pixels, compared to the 1,920 pixel width of a high definition home screen (which together with its 1,080 vertical lines makes up the Full HD standard), and a sharpness that Nolan considers unsurpassable even compared to productions shot directly in digital. Filming with this technology for an entire feature film has required developing new equipment. IMAX cameras are traditionally very noisy for filming dialoguesso the team created a silencer they call blimp (we can translate it as soundproof casing). The resulting camera, named ‘The Keighley’ after veteran IMAX executives Patricia and David Keighley, weighs about 300 pounds packed into its soundproof casing. Nolan maintains that the resulting image retains a quality superior to that of any digital production. In addition, the physical support adds another layer of demand. The celluloid tape had to be recharged every two and a half to three minutes, and a mirror system had to be installed so that the actors could see each other around this bulky device during filming. This celluloid also advances horizontally through the projector using a technique called rolling loopand a single 45-minute roll can weigh 140 kilos and exceed 4,600 meters in length. Nolan maintains that, even when this negative is scanned to digitize it and adapt it to rooms with laser projectors, the resulting image retains superior quality to that of any production born in digital. This conviction explains his insistence on defending celluloid against the advance of digital tools, a position that he has maintained consistently throughout his entire career. All this technical demand has a very high cost during the exhibition process: only about 40 theaters around the world can project IMAX in its full combination of 70 mm and giant screen, and finding trained personnel to handle these prints is increasingly difficult in an industry focused on digital for almost two decades. Spain, despite having several digital IMAX theaters and with projection in traditional 70 mm, it does not have any that combines both technologies, so the Spanish public will have to settle for digital versions that crop the image to a more panoramic aspect ratio, losing some of the visual information that Nolan captured at the top and bottom margins of the frame. In Xataka | The brutal collection of ‘The Odyssey’ confirms that the most profitable franchise of the moment is not Marvel or DC: it is Christopher Nolan In Xataka | One theory says that Ulysses was held in Perejil. And that we owe the name of Spain to it

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

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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

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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

Samsung responds with 6K, OLED and up to 330 Hz in its new Odyssey monitors

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A gaming monitor is not the typical product that we renew every year. Who we play on PC or console We tend to stretch it for quite a long time, and that is why the choice matters more than it seems. It’s not just about buying a screen to play today, but about thinking about the experience we will want in a few years. In this area, choosing well is not a whim: it is part of the investment. Manufacturers, on the other hand, do update their proposals periodically. Samsung has just made a move with its new line of gaming monitors for 2026presented today in Madrid. There we were able to see the products up close, but also better understand where the South Korean company wants to take its catalog in an increasingly competitive market. Samsung’s idea is not to fight solely on price. Javier Luque Pérezhead of B2B marketing for the screen division of Samsung Spain, summarized it during the presentation with a basic idea: the brand wants to continue playing the ambitious product card, but without leaving out those who are looking for a most accessible gateway to OLED. For the consumer, the reading is quite clear: if the absolute priority is to pay as little as possible, it may make sense to look towards more aggressive price proposals. If you are looking for a combination of features, design and technological ambition, Samsung wants to be in that conversation. “We maintain our philosophy and continue with it: innovating, offering better specifications and offering a premium product, but also opening the range and making it more accessible, as with the OLED G7 and the entire OLED G5 range that we released last year, so that everyone can access OLED, but maintaining our philosophy of innovation and good product.” Odyssey G8: the jump to 6K gaming comes with two sizes and Dual Mode The first of the great protagonists is the Odyssey G8which comes in two clearly differentiated versions. The 32-inch model, identified as G80HSis the most ambitious proposal of this new batch: Samsung presents it as the industry’s first 6K gaming monitor. This resolution implies working with a much higher number of pixels than a 4K monitor, something that can translate into more detail, more visual space and a particularly sharp image, as long as the PC is capable of moving games or applications at that level. The promise here is not just to see more, but to see more accurately. 32-inch Odyssey G8 6K The other half of the equation is fluidity. The 32-inch Odyssey G8 hits 165Hz in 6K. In practice, this helps movement feel smoother than on a conventional 60Hz monitor, especially in fast games. In addition, the manufacturer incorporates Dual Mode, a function that allows you to lower the resolution to increase the refresh rate: up to 330 Hz in reduced resolution (non-standard, close to 1440p/3K proprietary). In this case, we can prioritize resolution for image quality or refresh rate for competitive games. The second version of the Odyssey G8 is the 27-inch G80HF. Here Samsung drops a step in size and resolution, but maintains a very performance-oriented proposal: resolution close to 5K (5120 × 2880) at 180 Hz at 180 Hz or up to 360 Hz in QHD through Dual Mode. This mode makes sense for a very specific type of user: who wants a high-resolution screen to play with a lot of detail, but also the possibility of reducing the graphical load and squeezing out more frames per second when the game asks for it. 32-inch Odyssey G8 6K Both models incorporate DisplayPort 2.1, a connection that is especially relevant in high-resolution and high refresh rate monitors because it allows more bandwidth to be moved between the graphics card and the screen. In the case of DisplayPort 2.1 With UHBR20, we are talking about up to 80 Gbps, a figure designed precisely for demanding scenarios such as 4K at many hertz, 5K, 6K or configurations with HDR. They also have AMD FreeSync Premium and compatibility with G-Synctwo technologies aimed at synchronizing the monitor frequency with the frames delivered by the GPU to reduce jerks and cuts in the image. The list is completed with HDR10+ GAMINGa variant of the HDR10+ standard designed specifically for video games. The difference compared to conventional HDR10+ is that it adds elements adapted to the game, such as automatic HDR calibrationlow latency and support for variable refresh rate, as long as the content source and cable are compatible. It’s time to talk about numbers. The two Odyssey G8 arrive in Spain with very different prices: 1,299 euros for the 32-inch model and 749 euros for the 27-inch model. Odyssey OLED G8: 4K OLED at 240 Hz and a commitment to brightness The Odyssey OLED G8, code G80SH, occupies another place within the family. It does not seek to stand out for the extreme resolution of the 6K or 5K models, but for combining a 4K, 32-inch OLED panel and a 240 Hz refresh rate. The OLED plays a key role here– By not relying on a traditional backlight, each pixel can be turned off individually, allowing for deeper blacks, more contrast, and an especially striking image in dark scenes. In gaming, this can make differences both in immersion and in visual reading of certain scenes. Odyssey G8 32-inch 4K One of its keys is the Glare Free technology, designed to reduce annoying reflections on the screen, the USB-C port with charging up to 98 W and the QD-OLED panel with a multi-layer structure (Penta Tandem). This last name refers to an evolution of QD-OLED panels with a structure of several emissive layers, aimed at improving aspects such as brightness, efficiency and color performance. The recommended price in Spain is 1,199 eurosso it is very close to the Odyssey G8 6K in price, although with a different proposal: less maximum resolution, but OLED, 4K, 240 Hz and a very clear orientation towards image quality. Odyssey OLED G7: … Read more

Samsung Odyssey G8 G80H, features, price and technical sheet

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To what extent does the monitor matter when we talk about gaming? Much more than it seems when one looks only at the processor, graphics or console. The screen is the last link in that entire chain: there the power is translated into images, fluidity, detail and response. Samsung has made a move with a proposal that draws attention from the first piece of information: a Odyssey G8 which the company presents as “the industry’s first 6K gaming monitor.” The protagonist of this release is the G80HSthe 32-inch version of the Odyssey G8, a product that comes with a particularly ambitious technical sheet. The resolution is 6144 x 3456 pixels, with a density of 224 dpi. The format remains at 16:9, the panel is flat and the technology chosen is IPS, a base that seeks to combine sharpness, viewing angle and response. Samsung Odyssey G8 G80HS technical data sheet Samsung Odyssey G8 32″ (G80HS) Panel 32-inch Fast IPS 16:9 aspect ratio HDR10+ HDR10+ Gaming Resolution 6144 x 3456 pixels (6K) 3072 x 1728 pixels (3K) MAXIMUM REFRESH FREQUENCY 165Hz (6K) 330Hz (3K) typical brightness 350 nits contrast ratio 1,000:1 response time 1 (GTG) VIEWING ANGLES 178°(H) 178°(V) Color support sRGB 99% Up to 1 billion colors connectivity 1 x Display Port 2 x HDMI 2.1 1x USB-B upstream 2x USB-A 3.2 Gen 1 Headphone output dimensions 714.5 x 595.4 x 263.9 mm (with base) weight 7.4 kilos (with base) price Unannounced The Odyssey G8 that stands out for its jump in resolution We talk about higher resolution, but does this always mean a better experience? The reality is that to really notice it content is missingdistance of use and equipment capable of moving the games. That said, the G80HS’s bet goes in a clear direction: offering a cleaner image, with finer contours and more room to work on the desktop. It is a very current approach, because many users no longer buy a monitor just to play: they are looking for a screen that can be used to edit, write, view content and then return to the game. The other half of the proposal is speed. Samsung proposes two paths: use the monitor in 6K at 165 Hz or go down to 3K to reach 330 Hz through Dual Mode. The refresh rate indicates how many times per second the image can be updated, so a higher number can translate into smoother movements. It makes sense that there are two modes, because not all titles ask for the same thing: a narrative game can benefit more from the detail, while a competitive one usually appreciates every extra fluidity. The chosen panel also helps to understand where the G80HS is going. Samsung talks about “Fast IPS“, a technology that seeks to combine good color reproduction, wide viewing angles and a quick response, three important points when the monitor is not always used from the front or only for gaming. The firm mentions 178 degrees of horizontal and vertical vision, support for up to 1 billion colors and 99% coverage of the sRGB space. The image is completed with HDR10 and HDR10+ Gaming, a set of compatibilities designed to improve the treatment of brightness and contrast. HDR10+ Gaming, remember, optimizes values ​​in real time to make details more visible in dark areas and brightly lit parts of the scene. In a game, this can make very specific differences: distinguishing an opponent better in a shadow, reading a nighttime environment more clearly, or better preserving the reading of a brightly lit area. On a screen with these characteristics, connectivity is also part of the experience. The G80HS includes DisplayPort 2.1, two HDMI 2.1one USB-B upstream port, two USB-A 3.2 Gen 1 and headphone output. In practice, this allows you to set up a desktop with a PC, other gaming devices and peripherals without depending so much on external adapters, although it is worth keeping one detail in mind: does not include speakers. Samsung also includes an ergonomic stand with height, tilt, swivel and pivot adjustment, plus VESA 100 x 100mm mounting support. It should be noted that the G80HS does not arrive alone, and that also helps to understand the breadth of Samsung’s launch. The new Odyssey family includes other models, such as a 27-inch G8 with 5K resolution at 180 Hz or up to 360 Hz in QHD through Dual Mode, in addition to OLED proposals such as the Odyssey OLED G8 and the Odyssey OLED G7. The company has also renewed the ViewFinity S8 line, more aimed at professional environments. Odyssey G8 G80H Price and Availability Samsung talks about the launch of its new generation of Odyssey and ViewFinity monitors, but in the information provided the price does not appear of the Odyssey G8 G80HS nor a specific date of commercial availability in Spain. What the company does indicate is that it is now possible to register on its website to discover the new Odyssey G8 line, the Odyssey OLED G7 and the ViewFinity S8, in addition to accessing the launch promotion. Images | Samsung In Xataka | First impressions of the TCL RM9L with RGB MiniLED: the alternative to OLED for large format screens

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

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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

Nolan has portrayed Antiquity without colors in ‘The Odyssey’. It is a major error that has been around since the 18th century.

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The new trailer of ‘The Odyssey’ by Christopher Nolan It has everything that is expected from the director: enormous ambition, armies of extras, a Trojan horse, a cyclops, and its share of controversy. Beyond the anachronistic armor, both this and the previous trailer have highlighted how the film is bathed in a color filter (or non-color, rather) that turns Ancient Greece into a twilight, joyless place. What is significant is that this is not an innocent choice. Color missing. The new trailer, which makes the visual muscle of the film very clear (four months of filming at sea, 250 million dollars budget) has unleashed opinions that speak of “lack of color“, or of a proposal “dark, dirty and full of black armor.” Nolan affirms which has sought a realistic approach to the Greek epic, with locations in Greece, Morocco, Sicily and Iceland, practical effects and without the artificial shine of the classic Hollywood peplum. However, its approach is also a visual convention. Dirty past. The phenomenon is more than studied among experts in historical representation. The blog ‘Tragedy and Farce’ analyzed it in depth in 2021documenting how historical cinema has come to systematically associate the past with dirty browns, metallic grays, and unpolished armor. The trend became so dominant that it ended up filtering into epic fantasy: the Gondor of ‘The Lord of the Rings: The Return of the King’ works with a completely desaturated palette that contrasts with the vivid colors of the rest of the saga. The story. What is significant, as said the historian Patricia Gonzálezis that this is how a story is constructed: we are sent the message that the past was dark, brutal and primitive, and modernity consists of color and light. Going from black and white to technicolor, a bit in one inverted and less innocent version of ‘The Wizard of Oz’. The past is different from the present, it is described to us as distant and pre-rational, and at the same time it is romanticized in the military: man against the world, his own against what is foreign, the epic of noble violence. A message ideologically loaded to the brim, although there are authors like Nolan who, when adopting it, have no intention of launching an explicit political message. What archeology knows. Since 1981, the Liebieghaus Polychromy Research Projectin Frankfurt, analyzes traces of color preserved in classical sculptures and architectural fragments thanks to a combination of techniques including ultraviolet photography, X-ray fluorescence spectroscopy, and chemical analysis of pigments. Their conclusions are that the marble and bronze sculptures were painted with bright reds, deep blues, greens and gold. His physical reconstructions were shown to the public for the first time between 2003 and 2004 in Munich, the Vatican and Copenhagen, under the title ‘Gods in Color’. Polychromy was not limited to sculptures. Clothes were dyed, walls were painted, weapons of the elite were decorated, tapestries told stories with intensely colored illustrations captured with complex and intricate techniques. It must be taken into account that the very term “polychromy” It was coined by the theorist Antoine-Chrysostome Quatremère de Quincy in 1814. from the excavations of Pompeii and Herculaneum. The origin of the problem. In the Renaissance, restorers convinced that the paint covering the sculptures was accumulated dirt removed it, and by the 18th century there were hardly any visible traces left. It was then, in 1764, that the German historian Johann Joachim Winckelmann published his ‘History of the Art of Antiquity’, which for generations established the canon of classical beauty. in itWinckelmann maintained that color contributed to beauty but was not beauty, and that the whiter the body, the more beautiful it was. Liebieghaus Polychromy Research Project Winckelmann and the neoclassicists who followed him built on that historical accident an entire aesthetic ideal, that of white marble as the pinnacle of civilization and art. Museums displayed the sculptures in their deteriorated state as if that were their original appearance. Today’s public, upon seeing the polychrome reconstructions of the Liebieghaus, reacts with discomfort, but in reality this rejection is the result of two centuries of conditioning. White history. The most important Nazi propaganda forum on the internet, Stormfront, uses images of the Parthenon as iconography, invoking a “white history”. Identity Evropa, an American far-right organization, uses classical white marble sculptures in its propaganda. “Molon labe”, the legendary roar of Leonidas at Thermopylae, is today the slogan of armed Nazi militias. Before all that, Hitler banned any representation of classical art other than white marble in Nazi Germany. Sparta and Rome serve to sustain racialized narrativesxenophobic and Islamophobic, with the whiteness of marble as a central element of the imagination. A gray, violent and militarized past fits perfectly into that story: epic, where the hard man prevails (hence the famous “Roman Empire” in which men, apparently, they can’t stop thinking), separated from the “soft” present… Nolan is not propagating Nazi ideas, of course, but his imaginary, absolutely contrary to historical reality (is there anything more luminous and colorful than the Mediterranean?) is born from these trends that date back to the 18th century. Therefore, the decision of filming in Western Sahara It is not only economic: it is necessary to erase the light of classical history. In Xataka | This song is so important in Nolan’s ‘Inception’ that Hans Zimmer’s soundtrack revolves around it

Asturias’ odyssey to lead offshore wind

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It has long been thought that the biggest challenge of wind energy offshore (navy) was on the high seas. However, the real challenge is not taming the wind or waves, but rather manufacturing, storing and moving steel giants on land. For a wind turbine to float in the Cantabrian Sea or the North Sea, it first needs to be born in a “factory port”. In short. Under this premise, the Port Authority of Avilés (APA) has just hit the table in the WindEurope Annual Event 2026the reference summit recently held in Madrid. As reported by local mediathe Asturian delegation has come with a clear objective: to consolidate its port as an undisputed industrial node in the European wind value chain. These are not empty declarations of intent. The directors of the APA, Ramón Muñoz-Calero and Manuel Echeverría, took advantage of the forum to hold strategic meetings with giants in the manufacturing of turbines, towers and cables, such as Taihan Cable, Prysmian and ArcelorMittal, as well as global engineering companies of the caliber of Ramboll, DNV and OHLA SATO. Avilés no longer wants to be just a transit point for goods; Its goal is to become ground zero where wind energy offshore takes shape before setting sail. The war for space. But wanting to be a giant means dealing with giant problems. Manufacturing for offshore wind requires manipulating foundations and “monopiles” that can reach 120 meters in length, 12 in diameter and weigh 2,500 tons. This gigantism generates an immediate logistical crisis: lack of space. Moving and assembling these enormous cylinders requires massive esplanades and ultra-resistant infrastructure. In fact, according to The New Spainnot just any dock serves this purpose; Very specific technical characteristics are needed capable of withstanding brutal demands, both in total weight and weight per support points. To prevent this bottleneck from slowing down its expansion, Avilés is on the offensive to gain square meters. In statements collected by Port NewspaperMuñoz-Calero has been blunt: “We are part of the industrial and innovation ecosystem of Avilés and we not only contribute to greater industrialization, but we are in a position to promote it.” The port solution involves two major strategic moves: the acquisition of the industrial land freed by the former ArcelorMittal Coke Batteries and the development of new expansion areas in El Estrellín. The rebirth of the Iberian “hub”. Within the framework of WindEurope, the president of Puertos del Estado, Gustavo Santana, highlighted the country’s potentialremembering that Spain has 46 ports of general interest, an ideal network for renewable deployment. The Government has imminent aid on the table: 212 million euros from the Port EOL-Mar program of the IDAE to adapt docks and drafts, in addition to a ‘Horizon 2030’ plan that will inject more than 1,000 million euros into sustainability. Avilés’ demonstrated muscle. If Avilés raises his hand to ask for funds and investments, he does so protected by his resume. The bet of the Aviles enclave is not a promise for the future, but a reality forged from steel and tons. According to data provided by local mediathe port’s track record is overwhelming: since January 2012, they have shipped more than 18,000 pieces for thirty onshore and offshore wind farm projects. This growth has been driven, in large part, by the success of local company Windar Renovables. The climax of this activity was experienced in 2022, when the port broke its absolute record by moving 140,000 tons of wind traffic in a single year. The Asian lifeguardWhat is happening in the Asturian docks transcends the local; it’s a question industrial geopolitics. For decades, the West lived under the mirage that the future was only in software, abandoning heavy industry. Now, Europe has taken a “bath of reality”: energy sovereignty depends, ultimately, on knowing how to smelt metal. This revolution covers the entire Asturian coast. A few kilometers from Avilés, in the Gijón port of El Musel, China has seen his opportunity. The landing of the Asian giant Dajin Offshore – which has joined forces with the Asturian group Zima to build a plant – shows that technology and the eastern financial muscle can be the oxygen ball that the Asturian auxiliary industry needs to lead again. Not in vain, the Asian country today builds 74% of the planet’s renewable energy. The industrial clock against the bureaucratic clock. Asturias, which has been trying to digest the mining and steel conversion for three decades, has before it the historic opportunity to abandon its role as a simple “quarry” to become a center of high added value. Offshore wind promises reindustrialization, highly qualified employment and a leading role in the European green economy. However, the success of this transformation will not be measured solely by political intentions or memoranda signed in offices. The real litmus test is in institutional agility and territory management. The international demand is there and cargo ships are already waiting on the coast. Now, the only question is whether the bureaucracy will be fast enough to ensure that, in the docks of Asturias, there is enough space and strength to sustain the full weight of Europe’s energy future. Image | Port of Aviles Xataka | Asturias has been digesting the reconversion for three decades. Now China wants to return him to the path of industrialization

Aberting in Spain has become a real odyssey based on the province. So the government has launched a website

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Spain has an advanced law in abortion, with deadlines until week 14 and assumptions extended until 22. The difficult thing is to take it to the real field. Access depends on the Autonomous Community, the degree of involvement of public health and, too many times, on the economic capacity of women. While the law ensures universal coverage, many interventions are carried out in private and not a few women are forced to move. In that context it is born I want to go .orga portal that aims to become a compass in front of a system that, despite legal reforms, continues to raise obstacles on a day -to -day basis. A new release. The Ministries of Health and Equality have launched a website, presented at the act for the 40 years of the legalization of abortion. The portal offers what the government calls a “safe public space”, designed to guide women in a system that still varies a lot from one autonomous community to another. The platform It has been elaborated For health health health and activists, it is based on scientific evidence and guidelines of organizations such as WHO, Figo, Fiapac or Sego, and has the accreditation of the College of Physicians of Barcelona. It is not just an informative portal, what it seeks is to offer practical guidance, accompaniment and concrete resources. Therefore, the website includes a WhatsApp number attended by professionals from Monday to Friday, as well as a telephone line available on Mondays, Wednesdays and Fridays, managed by formed volunteers. In addition, it will have a legal, emotional and technical support service for women who need to interrupt their pregnancy beyond week 22. The law vs. reality. Spain opened the door to abortion In 1985, although in a very restricted way: only in three assumptions priced by law. The great transformation came in 2010, with A BADE LAW which the decision of women recognized for the first time as sufficient reason until week 14. The norm also contemplated interruptions until Week 22 in medical cases. The last reform arrived in 2023where the three -day reflection period was abolished, the autonomy of children under 16 and 17 years was recognized without the need for paternal permission and the obligation to create a record of objectors of consciousness was established. The latter was carried out so that public health was not overflowed or blocked by the refusal of professionals. In August 2024, only five communities had launched the registration of conscientious objectors – La Rioja, Murcia, Cantabria, Catalonia and the Canary Islands—, According to data cited by the country. The lack of this instrument in the rest generates an unequal application of the law and keeps many women dependent on private clinics or transfers to other provinces. Besides, As Efe points outallegations of harassment persist at the gates of clinics and bureaucratic delays in the procedure. A fragmented map. The Ministry of Health has published that in 2024 106,172 voluntary interruptions of pregnancy (IVE) were recorded, which is equivalent to a rate of 12.36 per 1,000 women between 15 and 44 years. The figure reflects a slight increase Regarding 2023. According to the data, the general photo reveals an obvious gap: almost eight out of ten abortions (78.7%) were carried out in private clinics, while public health assumed only 21.2% of the total. Hence, the website has been launched, designed to overcome the territorial differences that continue to mark real access to abortion. In territories such as Cantabria, more than 88% of IVE are carried out in public hospitals, while in La Rioja and Navarra the proportion exceeds 75%. In Galicia, three out of four abortions are practiced in the public network. The distribution of abortions in Spain reflects unequal access to the public system. In Madrid, more than 162,000 women interrupted their pregnancy in the last decade, but only 177 could do so in a public hospital. In other territories, such as Extremadura, Ceuta and Melilla, official data are even more sharp: not a single procedure was carried out in public health. And in communities such as Aragon, Asturias, Castilla-La Mancha, Murcia, Andalusia or the Basque Country, the proportion did not exceed 5%. This territorial disparity reveals the almost absolute dependence of the private network in much of the country. Critical voices. During the act on the occasion of the 40 years of legalization, activists such as Silvia Aldavert, from the I want to abort, They denounced that many autonomies They interpret the legal deadlines in a restrictive way: “When the law speaks of 14 weeks, it must be 14 + 6 days. In many communities it is interpreted as 14 exact, not one more day.” Minister Ana Redondo He stressed That 80% of IVE are carried out in private clinics, which “violates the principle of territorial equality” and converts abortion into “a class issue.” The cost of moving hundreds of kilometers, asking for free days at work or paying a private clinic makes the difference between being able to exercise the right in decent conditions or not. The testimonies confirm it. The case of Marta Vigara, a woman who was denied a therapeutic interruption in Madrid, uncovered that in some public hospitals There were hardly any abortions and that the usual solution was to refer to the private one. There is also the testimony collected by Newtral De Laura Gil, who had to travel to Brussels to interrupt her 31 weeks pregnancy before the refusal of Spanish clinical committees, an example of how economic capacity acts as a filter. The investigation points to two key factors: systematic outsourcing to private clinics and the objection of consciousness applied collectively, despite the fact that the law establishes that it must be individual and in writing. Conscientious objection as wall. The right of professionals to object is still one of the main pitfalls. “You cannot sacrifice a fundamental right of women at the expense of conscientious objection,” Minister Ana Redondo warnedremembering that the Article 139.1 of the Constitution … Read more

The entrepreneur’s odyssey that bought an old cruise, spent a million dollars on its restoration and could not enjoy it

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Not all projects that dream of having their own ship come to fruition. A while ago we met The story of Clyde Stireswho built a huge yacht at home. The story of Chris Willson It is equally interesting. Unlike Stires, Willson bought an old German origin cruise and spent a fortune to restore it. After years of effort, their plans faded quickly. It all started 16 years ago when our protagonist was browsing the web and found an unusual ads: someone was selling a transatlantic that was tied in Decker Island, California. Without thinking too much, this technological entrepreneur decided to invest in the boat. After closing the acquisition in 2008, he moved his new ship to the Rio Vista to restore it. Restoration and problems Willson now had a boat with enough history. The cruise had been built by the Shipyard Blohm and Voss in 1955. Passengers were traveling from one continent to another on a boat of 72 meters of length that had 85 cabins, different rooms, gastronomic spaces and galleries. Not only stood out in his transatlantic trips, but he had also appeared in the movie ‘From Russia with Love‘by James Bond. As CNN collectsThe man baptized the ship as “Aurora” after spending his first night on board. “I woke up with one of the brightest sunrises I had seen in my life,” he said. But not everything in the project was so perfect. Willson was forced to move the ship several times while performing the restoration tasks, although it was clear that he wanted his ship to be in shallow waters. For more than a decade, Willsson and several volunteer collaborators made all kinds of works in a “artisanal” way To improve the ship. Things, however, began to change in recent years. Aurora was tied in a Californian sports port called Herman & Helen’s Marina, when some locals and local authorities began to pressure so that the ship was transferred to another place. They feared a sinking. An old dragaminas baptized as HMCS Chaleur It was in the same area for a long time and a military tug of the 1940s had recently sunk generating concerns related to environmental pollution. With an eviction order at the door, Willson evaluated the cost of taking out the ship, but needed to spend about one million dollars on river works to complete the tasks. It was simply an amount of money impossible to assume. Willson had received donations To continue with your project, partly by The popularity of your YouTube channel. The only apparent solution was to sell it with the hope that a new owner could continue with the project ahead, but things soon trucked once again. In mid -2024, the Delegation of the Sheriff of the County of San Joaquín announced that Aurora was sinking. “It has been determined that the ship has a hole,” said the authorities. In this regard, they added that there had also been a spill of diesel fuel, forced the intervention of different agencies to contain the problem. In December last year, the ship was finally towed to Mare Island, north of California. There, the cranes disassembled their steel structure piece by piece until it made it disappear. Today no longer exists: The only thing that remains is an invoice of 8.2 million dollars for the costs of scratch. The authorities do not rule out undertake legal actions to purify responsibilities and recover part of the money. Images | Sheriff delegation from San Joaquín County | Aurora Restorration Project In Xataka | Europe is so dry that its rivers are revealing all kinds of treasures. Even a Nazi army of World War II

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