Known for his nonlinear narratives and use of practical effects, Christopher Nolan returns with his latest large-scale blockbuster, The Odyssey—the first feature film to be shot entirely on IMAX cameras.
Adapted from Homer’s ancient Greek epic poem, The Odyssey follows Odysseus (Matt Damon) on his homecoming journey after the ten-year-long Trojan War. Anxiously awaiting the heroic king’s return to Ithaca are his wife, Penelope (Anne Hathaway), and his son, Telemachus (Tom Holland).
The film opens with a bard (Travis Scott) recounting the events of the Trojan War at a banquet hall in Odysseus’ palace, occupied by suitors of Penelope. In an interview with Time, Nolan said Scott’s casting is a nod to the story of the Trojan War being passed down as oral poetry, which is “analogous to rap.”
In addition to Damon and Hathaway, the film’s stacked ensemble cast features several of Nolan’s frequent collaborators, including Himesh Patel as Eurylochus, Elliot Page as Sinon, Benny Safdie as Agamemnon, and Robert Pattinson as Antinous. As the film’s main mortal antagonist, Pattinson delivers a standout performance that demonstrates his commitment to the role and ability to command attention. Safdie’s king of Mycenae is another crowd favorite, captivating audiences with his “aura farming.” As for Lupita Nyong’o as Helen of Troy/Clytemnestra and Zendaya as Athena, the goddess of wisdom and warfare, both actresses make the most of their limited screen time.
In the era of AI, Nolan’s preference for shooting on location and using practical effects over CGI is a breath of fresh air. Using techniques like forced perspective, prosthetics, and puppetry, The Odyssey brings mythical beings such as Polyphemus, the Laestrygonians, and Circe’s swine to life. Not to mention Hoyte van Hoytema’s impeccable cinematography and Ludwig Göransson’s experimental score, which utilizes ancient Greek instruments like the aulos.
Already clocking in at a 172-minute runtime, Nolan’s adaptation leaves out memorable moments from the original Homeric epic, most notably Odysseus’ “Nobody” trick used against Polyphemus in Book 9. Nolan also opts not to depict gods like Zeus and Poseidon as tangible characters on screen, except for Athena, who is later revealed to bear the face of a priestess murdered at the fall of Troy—a ghostly manifestation of Odysseus’ guilt. Compared to Homer’s, Nolan’s Odysseus is more heavily characterized by his psychological trauma rather than his hubris, or excessive pride. The film’s anti-war thesis makes for a bold directorial choice overall, given that its story centers on one of the most famous conflicts in history.
Ultimately, Nolan’s screen adaptation of the roughly 2,800-year-old poem has further cemented his status as one of the best directors of the 21st century, capable of making inventive art films with blockbuster spectacle.
Taylor Graham is a student at Columbia University, majoring in Film and Media Studies with a minor in Political Science. She has reported for numerous publications, including the Valencia Voice, Glitter Magazine, and Heritage Radio Network, and is currently the 150th Arts and Culture Editor for the Columbia Daily Spectator, one of the oldest college newspapers in the nation. With a passion for storytelling in the digital age, Taylor covers all things entertainment, from film and television to media and pop culture, interviewing professional actors, musicians, and content creators alike. When she’s not writing her next film review or feature story on an emerging artist, Taylor can be found playing tennis, reading literary fiction, or thrift shopping in NYC.