A sprawling Greek epic, Homer’s The Odyssey, brought to life on the grandest canvas imaginable. Not just any big screen, but the IMAX big screen—every single frame captured on glorious, tangible film. When Christopher Nolan’s adaptation of The Odyssey hits theaters next summer, it’ll make history as the first feature film shot entirely on IMAX film. Not digital, not a mix of formats, but pure, old-school celluloid, stretched across those massive IMAX screens that make you feel like you’re falling into the story.

This isn’t just a technical flex (though it’s absolutely that). It’s a testament to Nolan’s relentless pursuit of cinematic immersion, a love letter to the theatrical experience, and a middle finger to the idea that streaming on your laptop is the future of movies. And, in a quirky twist, it all ties back to a comically oversized hat—Odysseus’s, to be precise—that reportedly posed a logistical nightmare for anyone but the most ambitious filmmaker.

The news broke at a press lunch during the Cannes Film Festival, where IMAX CEO Rich Gelfond spilled the beans to The Hollywood Reporter. Nolan, never one to shy away from a challenge, essentially dared IMAX to make this happen. “Chris called me up and said, ‘If you can figure out how to solve the problems, I will make [Odyssey] 100 percent in IMAX,’” Gelfond recounted. “And that’s what we’re doing.”

What were those problems? IMAX film cameras are beasts—heavy, noisy, and not exactly designed for the rapid-fire pace of a feature film production. But Nolan’s challenge lit a fire under IMAX’s engineers. They rolled up their sleeves and got to work, developing new cameras that are lighter, 30 percent quieter, and tailored to the demands of a sprawling epic like The Odyssey. They also revamped film scanning and processing techniques, making it easier for Nolan and his crew to review footage on the fly.

For now, these souped-up cameras are Nolan’s exclusive toys, but Gelfond says they’ll be available to other directors once The Odyssey wraps. It’s a game-changer for filmmakers who crave the texture and depth of film but want the jaw-dropping scale of IMAX.

Nolan’s obsession with IMAX isn’t new. It started back in 2008 with The Dark Knight, when he used IMAX cameras to shoot the film’s heart-pounding action sequences—like that iconic truck flip. The result was a visual experience so visceral it made audiences forget they were sitting in a theater. Since then, Nolan has leaned harder into IMAX with each project, from the cosmic vistas of Interstellar to the claustrophobic intensity of Dunkirk.

His last film, Oppenheimer (2023), pushed the boundaries even further. It was the first film to use black-and-white 65mm film in IMAX, a feat that required custom modifications to IMAX cameras and a partnership with Kodak to develop new film stock. The result? A film that felt both timeless and larger than life, earning Nolan his first Best Director Oscar and proving that audiences still crave the theatrical experience when it’s done right.

For The Odyssey, Nolan is reuniting with his Oppenheimer cinematographer, Hoyte van Hoytema, a Dutch-Swedish wizard who’s as much a mad scientist as Nolan when it comes to pushing film technology. Together, they’re crafting a visual odyssey (pun intended) that promises to make the Trojan War and Odysseus’s epic journey feel like you’re right there, dodging Cyclopes and weathering storms.

In an era where digital cameras dominate and most blockbusters are shot on RED or ARRI rigs, Nolan’s insistence on film might seem like a stubborn quirk. But there’s a method to the madness. Film, especially 65mm IMAX film, captures a level of detail and texture that digital struggles to match. It’s why Oppenheimer’s atomic bomb test felt like it was burning through the screen, and why Dunkirk’s aerial dogfights made your stomach drop.

IMAX film also has a practical advantage: its massive negative size (about 10 times larger than standard 35mm) allows for crystal-clear images when projected on those towering IMAX screens. Digital IMAX, while impressive, often relies on upscaling or cropping to fill the frame, which can dilute the impact. Nolan’s all-in approach ensures that every frame of The Odyssey will be as pristine and immersive as possible.

But it’s not just about technical superiority. Nolan’s choice of film is a statement. In a world where studios are cutting corners and audiences are settling for Netflix on their phones, he’s doubling down on the idea that movies are meant to be experienced—in a theater, with a crowd, on the biggest screen possible.

Details about The Odyssey are still under wraps, but we can piece together a rough picture from what’s out there. Based on Homer’s epic poem, the film will likely follow Odysseus’s decade-long journey home after the Trojan War, battling gods, monsters, and his own demons along the way. Expect a mix of practical effects (Nolan’s hallmark) and jaw-dropping IMAX visuals to bring the Cyclops, Scylla, and Charybdis to life. If Dunkirk made a Spitfire feel like a character, imagine what Nolan will do with a Greek trireme.

The Odyssey isn’t just a movie; it’s a milestone for IMAX and for cinema itself. By pushing the boundaries of what’s possible with film, Nolan is forcing the industry to rethink its priorities. IMAX’s new cameras and techniques could pave the way for a new wave of filmmakers to embrace film over digital, just as The Dark Knight inspired a generation of directors to experiment with IMAX.

It’s also a reminder of why Nolan remains one of the most vital filmmakers working today. In an industry obsessed with franchises and reboots, he’s tackling an ancient story with the same audacity he brought to Batman and black holes. And he’s doing it on his terms, with a medium he believes in, for an audience he trusts to show up.

So, when The Odyssey sails into theaters next summer, grab a ticket, find the biggest IMAX screen you can, and prepare to be swept away. Odysseus’s journey deserves nothing less—and that oversized hat might just steal the show.