Das Kino erlebt ein überraschendes Comeback. Vorstellungen für „Die Odyssee“ und „Dune. Part Three“ sind auf Wochen ausverkauft. Das führt zu absurden Auswüchsen.

The life of the hugely influential ‘people’s historian’ is explored in a wide-ranging new book that brings in everything from wars to civil rights to Matt Damon

Matt Damon may play a great hero in The Odyssey, but one of the star’s own heroes is also set for his time in the spotlight. In Massachusetts in the 1970s and 80s, Damon grew up close to Howard Zinn, now the subject of The People’s Historian, a biography by Dave Zirin.

“Frankly,” Zirin said, “the fact that he’s Matt Damon and oh by the way is now in the biggest movie perhaps since Titanic, it makes it a nice little bauble for the book that I got to interview him.

Canadian stuntwoman is only 4ft 6in and stood in for star to make the giant Laestrygonians appear even bigger

A 35-year-old stuntwoman is one of the great unsung heroes of Christopher Nolan’s new blockbuster The Odyssey – standing in for Matt Damon and displaying what the actor called “the greatest arms I’ve ever seen”.

Canadian Devyn Dalton was the Hollywood star’s stunt double in a pivotal scene in the film where Odysseus (Damon) and his men are confronted by the Laestrygonians, giant armoured cannibals.

The Hallmark Channel’s ropey version of The Odyssey is going viral for its star-studded cast. Christopher Nolan’s film only looks better by comparison

Christopher Nolan’s version of The Odyssey is far from the first committed to screen. As early as 1911, Italian director Guiseppe de Liguoro made a silent version entitled L’Odissea. Readers of a certain age may remember watching the futuristic animated series Ulysses 31 throughout the 1980s. O Brother, Where Art Thou? is based on The Odyssey. So too, if you squint as hard as you can and discount the Goofy Goober song, is the first SpongeBob SquarePants movie.

However, the pre-Nolan adaptation that has the biggest legacy is arguably Andrei Konchalovsky’s two-part version, made in 1997 for the Hallmark Channel. This is the adaptation that has been doing the rounds in recent days, clipped up on social media (the full version is highly discoverable on YouTube) and catching the eye of Joyce Carol Oates, who spent much of Thursday night tweeting very enthusiastically about it.

The billionaire says the AI-generated film will stay true to Homer’s original, after repeatedly criticising Christopher Nolan’s blockbuster over its casting choices

Elon Musk has said his AI platform Grok Imagine will make a “historically accurate” adaptation of Homer’s Odyssey, after the success of Christopher Nolan’s blockbusting treatment which the SpaceX founder has regularly criticised over its casting.

In a post on X, Musk said: “Before this year ends, Grok Imagine will make a full-length movie of The Odyssey that is historically accurate and true to the art of Homer.” Musk also linked to a post containing a three-minute clip of footage that the user said had been generated from Grok Imagine, showing a scene between Odysseus and the nymph Calypso.

Inside all the blink-and-you-miss-it moments, subtle easter eggs and poignant takeaways from Christopher Nolan’s ancient epic

• This article contains spoilers for The Odyssey

The Odyssey looks set to be the blockbuster hit of the summer, with global opening weekend grosses of $264m, critical rave reviews including five stars from the Guardian’s Peter Bradshaw, and reports of fans traversing continents to experience Christopher Nolan’s epic tale of gods and monsters in one of the few dozen screens worldwide with the capability to screen Imax in 70mm. It also has the potential to rule the box office for the coming weeks, with few other true blockbusters to be released this summer, with the exception of Spider-Man: Brand New Day (hence the cast’s humiliation ritual of a press tour). Read on for a spoiler-packed breakdown of the epic battles, narrative twists and out-of-nowhere cameos that bring richness to Nolan’s idiosyncratic vision of ancient life.

From missing scenes and characters to a brand new ending, the director has taken some artistic liberties with Homer’s epic poem

• Peter Bradshaw’s five-star review and a less enthused classicist’s take
• Will women also enjoy Nolan’s Odyssey?
• Christopher Nolan interviewed
• Why shooting on occupied land feels like a betrayal

Turning a 12,000-line poem that takes a day to read aloud into a three-hour film was always going to require some pruning. So it has proved with Christopher Nolan’s The Odyssey, which dispenses with a number of scenes and characters from Homer’s ancient Greek epic. The director has also changed the emphasis in some of the story’s most famous episodes and made a few of his own additions. Here we run down the most significant alterations.

In this week’s newsletter: Is Nolan our last superstar director? Every one of his films is an event, clearing the release schedules and selling out cinemas

This July, competitors are running scared – like Ithacans fleeing the cyclops Polyphemus – from The Odyssey, Christopher Nolan’s humongous staging of Homer’s epic poem. The only significant alternatives you’ll find at the cinema in the week of its release are a handful of Aardman rereleases and an astoundingly poorly reviewed adaptation of Animal Farm. The tumbleweeds roll on into next week too, where the star attraction is a cheapo horror film capitalising on Pinocchio’s public-domain status. Only by the 31 July does a blockbuster tentatively poke its head above the parapet – we commend you for your bravery, Spider-Man: Brand New Day.

No other film-maker is able to make studios retreat from the battlefield like Nolan, such is his clout. Sure, other directors might be able to attract sizeable numbers of moviegoers by dint of their name on the poster – Paul Thomas Anderson, Tarantino, Scorsese – but none of them are operating on the same “event cinema” scale, selling out cinemas for months on end. Modern-day Spielberg, with a fair wind behind him, might come close, but that depends completely on the project: flashy sci-fi movie that harks back to his golden era of ET and Close Encounters – perhaps; semi-autobiographical paean to the wonders of moviemaking – not so much. Nolan doesn’t tend to experience that variability: everything he stamps his name on will reliably hit.

Christopher Nolan’s star-studded take on Homer’s Odyssey has received rave reviews from critics and is one of the most hotly anticipated films of the year. The three-hour Imax blockbuster has an estimated budget of $250m and a star-studded cast including Matt Damon, Zendaya and Tom Holland. But will it live up to expectations? Annie Kelly speaks to film editor Catherine Shoard

Christopher Nolan’s epic adaptation has been met with almost universal acclaim – from mostly male film critics. Might women find the journey less comfortable?

Long ago, almost as long ago as Homer composed The Odyssey, I was a film critic on the Sunday Telegraph. People sometimes ask me how sexist the scene was then, back in the bronze age mid-noughties, when male critics outnumbered female by about eight to one. Well, there wasn’t any sexism. It was actually totally fine and everyone was really nice.

They were nice in Soho, anyway. Farther afield, less so. Particularly certain readers, when it came to certain films, made by certain directors. Quentin Tarantino, obviously. Ken Loach, weirdly. And Christopher Nolan. Question their genius and prepare for epic correction by a legion of self-appointed bouncers.

How do you follow Oppenheimer? By spending $250m bringing Homer’s epic poem to the big screen in Imax. Today’s most powerful director talks big swings, trauma-bonding and the healing powers of chocolate labrador Charlie

‘I’m in that moment of sheer terror,” says Christopher Nolan, sitting in a suite at the Corinthia hotel in London, in a slightly rumpled suit, next to a pot of tea. Outside, crowds jostle, hoping to catch a glimpse of one of the stars within – Matt Damon, Tom Holland, Lupita Nyong’o. It is the day before the world premiere of Nolan’s latest film, an adaptation of Homer’s epic poem the Odyssey, and the last day of waiting before audiences decide whether the biggest gamble of Nolan’s career has paid off. The film, which reportedly cost $250m (£185m), doesn’t just need an audience to show up. It needs the entire moviegoing world to do so.

“It never gets any easier, because I make films for audiences and the audience tells me what it likes,” he says. “They finish the film. I don’t have anything to hide behind. I can’t just be like: ‘Oh, people don’t get it.’ Those aren’t the films I make. What does the audience make of it? Do they turn up? Do they like it if they do turn up?

Christopher Nolan’s epic was given five stars by the Guardian, Independent and Telegraph, while the New York Times called it a ‘monumental adaptation’

Christopher Nolan’s $250m Imax blockbuster version of Homer’s epic poem the Odyssey looks set to be among the director’s best-received of his career, and could be a frontrunner for next year’s best picture Oscar.

The Guardian’s Peter Bradshaw was among the vast majority of critics who awarded it five stars, calling it 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.”

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.

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.

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.

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.

Sophie Turner glaubt, ihr Hochstapler-Syndrom könnte für immer bleiben. Matt Damon ärgert sich, dass Netflix Filme für Handyfixierte macht. Und Piers Morgan fällt auf den Boden wie ein Sack Kartoffeln.

The streaming giant has the data that proves we all just watch things with one hand gripping our phones, so need to have the plot explained to us over and over again

Matt Damon has a new film out, a $100m cop thriller co-starring Ben Affleck called The Rip. It is currently the most watched film on Netflix, because it is a Netflix movie. So how is Damon choosing to promote his new Netflix movie? By kind of laying into Netflix.

During an interview on The Joe Rogan Experience, Damon went to great lengths to describe the differences between going to see a film theatrically and watching it on television. Explaining his experience of watching One Battle After Another in an Imax screening, Damon said: “I always say it’s more like going to church – you show up at an appointed time. It doesn’t wait for you.”