The decision to shoot in Moroccan-occupied Western Sahara, where the Indigenous people can’t tell their stories without fear of imprisonment, helps erase our own brutal journey

• Peter Bradshaw’s five star review
• A classicist’s verdict

The simple act of holding a camera in my homeland of Western Sahara can be a crime. When Sahrawi film-makers and journalists attempt to document everyday life under Moroccan occupation, they can often end up in prison cells. For the Moroccan regime, a camera in the hands of a Sahrawi threatens its official narrative that Western Sahara is part of Morocco.

In contrast, when celebrated international names in the film industry wish to capture an ideal picture for an epic journey, and decide that our land is exotic enough to shoot the desired scenes, they are welcomed, escorted and granted access by the same authorities that usually deny us that right.

Doing full justice to the Homeric legend, Christopher Nolan amasses an epic cast to convey the true cost of war with film-making of thrilling ambition

• A classicist’s verdict

• Nolan interviewed

• Will women also love The Odyssey?

Christopher Nolan reinvents the Homeric legend as a colossal origin-myth story of postwar disillusion, an epic ordeal of anguish witnessed by the dead and presided over by capricious deities who participate on almost equal terms with the humans. It speaks to the generational pain of PTSD; plenty of soldiers come home in person after any war promptly enough, but arriving back to their prewar state emotionally or spiritually can take years or decades and may never happen at all. The invisible odyssey of anguish is punctuated by flashback episodes, hallucinations, confrontations with the arbitrary gods of dysfunction. And all the time the spouses and children cannot move on with their lives.

This is a film with thrilling ambition, boldness, seriousness, generosity and flair. There are some broad-brush moments in the dialogue, yes, but even these are applied with a muscular flourish. It has gasp-inducing, Imax-sized landscapes of loneliness shot by cinematographer Hoyte van Hoytema – who, incidentally, avoids the sea’s traditional cliched colour – and full-tilt battle sequences and fight scenes accompanied by the throbbing and thrumming of drums.

Matt Damon’s sensitive and repentant Odysseus might come as a surprise to Homer, likewise some significant omissions concerning the poem’s female characters

• Peter Bradshaw’s five star review

• Nolan’s film shot on occupied land. That feels like a betrayal

It would be easy to think that the Odyssey, Homer’s epic poem composed over 2,500 years ago, is all about Odysseus. It’s called the Odyssey, after all. It opens with the invocation to the Muse, “Tell me about a complicated man” – pulling no punches about the poem’s theme. This is, on the surface of things, an epic about a man coming home, a return voyage that spans fluorescent fantasy worlds and yawns across 10 years in the wake of the fall of Troy; a one-hero clash with monsters and princesses, giants and whirlpools, the fight to reclaim his place as king of Ithaca, and as the hero of an epic of his own.

But the point about an epic is that it also contains multitudes. There is much that is epic about Christopher Nolan’s latest film. For those familiar with Nolan’s work, that hardly comes as a surprise. It’s a long watch, coming in at just under three hours. It reckons with the breadth of the Odyssean legend, from the sack of Troy all the way to Odysseus’s return, and seamlessly juggles the epic’s multiple timelines and flashbacks. And while the jaw-dropping cinematic effects of a feature film shot with Imax cameras might seem entirely modern, the way Nolan captures the smashing of a ship’s prow into the waves or the crunch of bones in the Cyclops’ jaws have their roots in the dynamic visuality of Homer’s poetry – what ancient commentators called enargeia, the epic’s ability to bring the world to life before your eyes.

Cinephiles are crossing oceans to see the film at its highest possible resolution – and only 41 cinemas in the world are equipped to do it

In Homer’s Odyssey, the hero Odysseus embarks on an epic journey spanning oceans, monsters and gods to return home to his family. In a remarkable parallel, Christopher Nolan’s fans are embarking on epic journeys of their own to see his adaptation of The Odyssey in one of the few surviving Imax 1570 cinemas around the world, the Oscar-winning film-maker’s preferred format.

Nolan has long been a champion of Imax 1570 film, the highest-resolution film format in existence, named for the width of the film stock (70mm) and the 15 perforations on each frame. The Odyssey is the first feature film ever shot entirely on 1570 cameras, which are notoriously heavy, loud and require frequent reloading; the film stock had to be changed every three minutes during the Odyssey shoot, with Nolan working with Imax to develop a soundproofing “blimp” to house the 180kg camera to make it quiet enough for him to record dialogue on 1570 for the first time.

Odyssey director addresses industry fears over artificial intelligence and says rightwing criticism of Lupita Nyong’o as Helen of Troy is ‘irrelevant’

The Oscar-winning director Christopher Nolan believes the kind of movies he makes – big-budget action films shot mostly on location – would survive the spread of artificial intelligence, a technology he says many people “disdain”.

The Oppenheimer and The Dark Knight director is promoting his latest blockbuster, an adaptation of the Greek epic The Odyssey, which will be released in cinemas this week.

Christopher Nolan’s take on the Odyssey is set to break box-office records. What made the director so determined to adapt the ancient Greek epic? And why does a poem from 600BC hold a vice-like grip on pop culture? Warning: contains 2,600-year-old spoilers

Christopher Nolan’s Odyssey movie has all the hopes of a summer blockbuster pinned to it, and all the promise – as the trailers have showed – of magnificent effects, shocks and thrills. You will be taken inside the cave of the terrifying one-eyed giant, the Cyclops Polyphemus, who likes to dine on human flesh. You will visit the dim and misty shores of the land of the dead, where no warm-blooded human should ever tread. You will flee the pounding tread of cannibals. You will be tossed on stormy seas sent surging by vengeful gods.

And all of this spectacular adventure, for sure, is part of the Odyssey, one of the first great works of world literature, which was written down soon after the Greeks acquired the technology to do so, probably in the 600s or 500sBC. The ancient Greeks attributed the poem to a man called Homer, often described as a blind bard from the island of Chios.

The universal themes addressed by one of humanity’s greatest storytellers more than merit Hollywood box-office treatment

The Magasphere’s endless appetite for culture wars is wearily familiar. But who could have foreseen that Greek literature would become the new casus belli? Ahead of its much-anticipated general release next week, Christopher Nolan’s adaptation of Homer’s Odyssey has triggered Elon Musk and other supposed defenders of western civilisation. Directorial decisions such as the casting of the Kenyan-Mexican actor Lupita Nyong’o as Helen of Troy, Mr Musk ranted incoherently, amounted to “pissing on Homer’s grave”.

The absurd insistence on the white skin of a mythological figure reveals nothing we didn’t already know about the owner of X. The rest of us can move on and look forward to a lavish cinematic take on a story that has inspired artists for almost 3,000 years. Homer’s account of Odysseus’s 10-year struggle to return home from the Trojan wars has been reworked by Virgil in the Aeneid, relocated to Dublin in James Joyce’s Ulysses, and given a feminist treatment by Margaret Atwood in her Penelopiad. Now for the 21st-century Hollywood treatment.

Following the film’s premiere, critics are already calling the historical epic a best picture Oscar contender. Here’s what they had to say

The Odyssey, Christopher Nolan’s three-hour version of Homer’s epic poem, world premiered in London on Monday night, and critics who saw the film there and at early screenings in the US have been sharing their takes on one of the year’s most hotly anticipated films.

“Christopher Nolan’s Odyssey is a colossal origin-myth story of postwar disillusion and a loss of innocence witnessed by the dead,” wrote the Guardian’s Peter Bradshaw, ahead of the reviews embargo lifting next Wednesday and next Friday’s worldwide release.

The summer’s most anticipated film will raise epic questions about culture wars, classics and the nature of film-making

In a plot twist worthy of the ancient bards themselves, the hottest movie of the summer isn’t a superhero flick, or an alien-invasion yarn, or a crinolines-and-bonnets period drama. Instead, it is an adaptation of a nearly 3,000-year-old epic poem, which film-maker Christopher Nolan is releasing as a follow-up to Oppenheimer, his grim, Oscar-winning study of the origins of nuclear war. Nolan, previously director of Memento, the Dark Knight trilogy and Dunkirk, has now turned his attention to the Odyssey, the classical Greek saga that, along with its companion epic the Iliad, is one of the foundational works of western civilisation.

Nolan’s adaptation is a big-budget affair, the largest of his career at an estimated $250m, and the director has peopled it with a cast ranging from established Hollywood stars such as Matt Damon and Anne Hathaway, newer teen-friendly faces including couple of the moment Zendaya and Spider-Man’s Tom Holland, and idiosyncratic choices such as Lupita Nyong’o, Mia Goth, Samantha Morton and fellow director Benny Safdie.

Set to be this year’s biggest blockbuster, The Odyssey’s cast has been selected to ‘represent the world’. Fair enough – except that one key country seems to have gone completely unrepresented …

There are the American accents, gleaming body suits and a muddy Dunkirk palette. And then there is Lupita Nyong’o as Helen of Troy, a casting choice that recently drew racist attacks from the usual moaners of the internet, including Elon Musk, who complained it wasn’t authentic. Authenticity matters. He’s just focusing entirely in the wrong place. To many Greeks, what concerns us most about the first look at Christopher Nolan’s adaptation of Homer’s Odyssey is the whereabouts of Billy Zane.

Zane, like other beloved members of the Greek diaspora in Hollywood, has recently appeared on “Alternative Odyssey” lists on the Greek side of social media, as well as over dinner table debates from Patras to Palmers Green. (Theo James, Jennifer Aniston, Hank Azaria, and Dave Bautista are among the other nominees.) Greek and Greek Cypriot media platforms are writing open letters. It’s a symptom of feeling left out by Hollywood, again and with no explanation, from our foundational mythologies and epics, with a cast list that features not even a token –opoulos, –edes, or –iannou. Not a single Greek.

The Oscar-winning actor’s role in the mythical drama has been attacked by Elon Musk and others on the far right

Oscar-winning actor Lupita Nyong’o has responded to far-right criticism of her role in Christopher Nolan’s adaptation of The Odyssey.

In the big-budget film, out in July, the star plays Helen of Troy alongside cast members including Matt Damon, Anne Hathaway, Tom Holland and Zendaya.

In a rare interview, the director has said he wants to do justice to Homer’s ‘original non-linear narrative’. How will that translate on screen?

• New trailer for Nolan’s The Odyssey released online

The excitement around Christopher Nolan’s forthcoming film of the Odyssey has been taken up a notch this week with the launch of a new trailer and the director appearing on Stephen Colbert’s US chatshow to give a rare interview.

With fresh information emerging about the film, which is scheduled to be released on 17 July, it’s worth taking stock of what we know about Nolan’s adaptation of Homer’s ancient Greek epic, starring Matt Damon as Odysseus. And how faithful to the original poem is it likely to be?

Trailer offers glimpses of Matt Damon as mythological hero Odysseus, Tom Holland as his son Telemachus and Anne Hathaway as his wife, Penelope

The new trailer for Christopher Nolan’s adaptation of Homer’s The Odyssey has been released.

Starring Matt Damon as mythological hero Odysseus, the epic film retells the story of Odysseus’ 10-year voyage back to his homeland of Ithaca after the Greek victory at the siege of Troy.

Margot Robbie busts her corset in Wuthering Heights, the Devil Wears Prada sequel goes fashionably to war, and Christopher Nolan brings us a Greek epic. Plus much more in our pick of the best films coming to UK cinemas this year

• More from the 2026 culture preview

Jessie Buckley may need to hire a carpenter for the silverware-cabinet she is expected to need for her hugely admired performance in the film based on the Maggie O’Farrell novel. She plays Anne (or Agnes) Hathaway, wife of William Shakespeare, grieving the terrible loss of their 11-year-old son, Hamnet, in 1596, which the story imagines to be a spur to the creation of Shakespeare’s play Hamlet. Paul Mescal plays Shakespeare and Emily Watson his mother, Mary.
• 9 January.

Trailer shows Matt Damon as the Greek hero, with Anne Hathaway as Penelope and Tom Holland as Telemachus

The first trailer has been released online for Christopher Nolan’s epic adaptation of Homer’s Odyssey.

Starring Matt Damon as the classic Greek hero, the trailer offers a series of shots of a bearded Damon as he sets out to return from the fall of Troy as his gravelly voiceover announces: “After years of war … no one could stand between my men … and home … not even me.”