Film fans are embarking on “epic journeys of their own” to see Christopher Nolan’s adaptation of “The Odyssey” in one of the “few surviving” Imax 70mm cinemas, said The Guardian.
That’s because it’s the first feature film to be shot entirely on 1570 film – “named for the width of the film stock (70mm) and the 15 perforations on each frame”. It’s “the highest-resolution film format in existence”, so it makes sense for fans to watch the Oscar-winning filmmaker’s masterpiece in his “preferred format”, right?
‘Very exclusive’
But getting your hands on “summer’s hottest ticket” is far from easy, said Mashable. Fans are spending “hundreds of dollars”, travelling thousands of miles, and even planning pregnancies around seeing Nolan’s film in Imax 70mm cinemas: the only format that lets you watch “The Odyssey” with the “fullest image possible”.
Those who opt for other cinemas, with formats like the standard 70mm, or 35mm, will have a “sizeable chunk” of the frame cut off. So some of the “sheer vastness of the landscapes that Nolan and cinematographer Hoyte van Hoytema are capturing” will be lost.
Most cinemas shifted to digital around a decade ago and there are just 41 worldwide that are able to show Imax 1570 film, eight of which are in California. The UK is home to three of them: two in London and one in Manchester. No theatres in Asia, Africa or South America can screen Nolan’s film in his intended format, making it a “very exclusive – and very Western – affair”.
I thought the “buzz” around “The Odyssey” being shot on Imax 1570 cameras was “clever marketing hype”, said Charles Pulliam-Moore on The Verge. But to “get a true sense of the story Nolan is telling” you really do need to watch it in an Imax. Many of the scenes are “perfectly fine” in the 35mm format; however, those that feature the film’s “gargantuan monsters” take on a “different gravity” when displayed in the Imax 70mm’s 1.43:1 ratio.
Nolan has made a film that is “immersive” in a way most modern features aren’t. But the higher ticket price coupled with the fact that the “vast majority” of people will never get to watch his film in the way he intended it has prompted accusations that the director is “anti-art and contributing to the culture of obsessive format purism”.
‘Far more fiddly and expensive’
Shooting on 1570 cameras is no easy task as they’re “notoriously heavy, loud and require frequent reloading”, said The Guardian. During “The Odyssey” shoot the film stock had to be changed “every three minutes” and Nolan worked closely with Imax to create a “soundproofing ‘blimp’ to house the 180kg camera to make it quiet enough for him to record dialogue on 1570 for the first time”. Projecting the finished film is also “far more fiddly and expensive” as a highly trained projectionist needs to be present for the entire screening.
But Nolan’s popularity has risen alongside 1570’s “mini comeback”. The number of cinemas able to project these films has risen from 30 to 41 since the release of “Oppenheimer” in 2023. And it’s not just Nolan who has helped spark interest in the format: several other big-name directors have followed suit including Denis Villeneuve who shot “Dune: Part Three” on Imax cameras.
“There’s certainly more demand,” Imax CEO Richard Gelfond told Variety. But adding more 70mm screens isn’t that simple as new Imax film projectors haven’t been made in “about 50 years”. Sources at Imax said many of the parts needed to build them “simply no longer exist”.
Even if Imax does “magically” figure out a way to manufacture more 70mm projectors, there aren’t many cinemas where they could be installed as “exhibitors aren’t building enough auditoriums that are capable of housing its towering 1.43:1 screens because of high construction costs”.
The company remains one of the movie industry’s few “reliable bright spots”, with attendances having “languished” since the pandemic, said Rebecca Rubin in Variety. Buyers have been “circling” and in May it was reportedly in the “early stages of exploring a sale”. For now, Imax is in an “enviable position”.