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The best place to see the Odyssey is at your local theater
A Polygon writer describes choosing to watch Christopher Nolan's new film The Odyssey at a standard local digital screening rather than waiting for an IMAX 70mm showing, despite acknowledging that format is Nolan's intended way to view the film. Living in London, the writer found the city's two 70mm IMAX cinemas completely sold out through September, prompting a decision to prioritise convenience and comfort over the "purest" viewing experience. The piece speaks to the broader hype and demand surrounding Nolan's latest release, as well as the confusing array of premium formats now offered to audiences.
The article notes that The Odyssey is showing in numerous formats, including IMAX 70mm, digital IMAX, Dolby Vision, 70mm film, 35mm film and various "Premium Large Format" variants, with Letterboxd even offering a digital punch card to track which versions viewers have seen. The writer opted instead for a nearby regular theatre offering a free companion ticket, comfortable seating and solid projection quality, and reports that the standard 2.39:1 digital presentation still captures much of the film's visual impact, crediting cinematographer Hoyte van Hoytema's compositions for working well across aspect ratios.
In short
- Writer skips sold-out IMAX 70mm screenings of The Odyssey for a local cinema
- London's two 70mm IMAX venues are fully booked into September
- Standard digital screenings still convey much of the film's visual quality
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
The writer's decision reflects the reality most cinema-goers face: specialist formats are rare, expensive, and often inaccessible. Waiting indefinitely for a sold-out IMAX showing means missing the film entirely, whereas a well-executed standard digital screening remains a worthwhile cultural experience. Nolan's cinematography is sufficiently composed to translate across aspect ratios and presentation formats, and prioritising accessibility and practical viewing over format perfectionism ensures that cinema remains democratic rather than exclusive to those with geographic or financial privilege.
The case against
Nolan specifically conceived The Odyssey for IMAX 70mm projection, and experiencing it in a different format fundamentally alters the artistic experience he designed. The aspect ratio, colour grading, visual composition and sound design are calibrated for that specific medium, and watching on a smaller screen means missing crucial directorial choices. This is not mere snobbery but respect for craft; accepting compromised versions sets a troubling precedent for the film industry and undermines audiences' ability to experience cinema at its intended calibre.
Explained simply
Christopher Nolan is a British-American film-maker known for large-scale films such as Oppenheimer and the Dark Knight trilogy. The Odyssey is his new adaptation of the ancient Greek story about Odysseus’s long journey home after the Trojan War, starring Matt Damon.
The film is available in several cinema formats, from standard digital screenings to large-screen and film presentations. IMAX 70mm is a high-resolution film format associated with especially large screens, while other premium formats can offer different picture or sound features.
The range of options reflects the attention around Nolan’s films and can make choosing a screening complicated. It also raises a practical question for audiences: how much the viewing format adds, compared with the convenience, cost and comfort of a nearby cinema.