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If anyone has earned the audience’s trust, it’s Christopher Nolan.
For over 25 years, the British-American filmmaker has consistently delivered indelible visual spectacle and stimulating food for thought. Fresh off of Oppenheimer’s seven-Oscar triumph (including best picture and best director), Nolan’s thirteenth film, The Odyssey — the first narrative feature shot entirely in IMAX — is no exception to his penchant for thought-provoking blockbusters.
Following near-universal acclaim from critics and moviegoers alike, Nolan’s adaptation of Homer’s ancient Greek poem — which chronicles the Greek hero Odysseus (Matt Damon) on his perilous decade-long journey home after the Trojan War — has debuted to $264 million at the worldwide box office, setting the auteur’s global opening weekend record and bolstering an existing career cume that exceeds $6.2 billion. Domestically, it notched $124 million, Nolan’s top opening outside of the Batman franchise, with 23.8 percent of that sum coming from IMAX screens.
After being introduced to The Odyssey during a grade school play, Nolan nearly brought Homer’s work to the screen during his short stint developing 2004’s Troy. He was on the project long enough to envision Odysseus’ deceptive, war-altering gift of the Trojan Horse wedged into the beach of Troy, a haunting recurring image that he establishes within the first 30 seconds of his Odyssey.
