As the number of China equipped with film projectors continues to decrease, Christopher Nolan's current crusade to save celluloid format may seem purity. While many top directors, along with Nolan, still make their films on (mostly) 35mm film actions (eg Quentin Tarantino, Celine Song, Ryan Kogller, Paul Thomas Anderson and Riyan Nsonson), to get the full effect of the rich, textured pictures. This is possible if you live in a metropolis like a newuin or Los Angeles, but is virtually impossible outside the larger media markets.

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The conventional wisdom between the study and the exhibitors is that the film screening is dead. Returning it will require theater owners not only to buy and install new equipment, but also to train some employees in the dying art of film screening. Given the endangered state of the theater exhibition (even when the theaters are no It is actively destroyed at the La -Project of "Movie of Minecraft"), accepted as a stone cold fact that there is no chance of the owners of the Hell Theater will investigate this option, even at a market trial.

As a lifeline of a lifelong film, who grew up watching 35mm films (and occasionally 70mm), I refuse to believe we saw the last of the film screening in smaller markets. In fact, I think it is possible for exhibitors to be convinced to build more houses on IMAX, some of which would be capable of projecting honest to God's film in the company's pure 15/70 format. I believe in this because Nolan and Kogler have shown us that there is a growing hunger for the sensation of the big screen. So I'm absolutely thrilled that Nolan doubles his fetish imax by shooting His adaptation to Homer's Odyssey Completely on new, less serious cameras imax.

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According to the Hollywood reporterNolan, fresh from his Openheimer, conquering an Oscar, wanted to boost the technical ante, by filming the whole next film on the IMAX cameras. As IAX CEO Rich Gelfond said at the Cannes Press event this week, "Chris called me and said:" If you can understand how to solve problems, (I) will do ("Odyssey") 100 percent in IMAX. And that's what we do.

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The biggest problems with IMAX 65mm cameras are noise and something pious flow at work. These new cameras, all of them are currently owned by Nolan until the recording "Odyssey" is finished, are 30 percent less noisy. Footage can also turn much faster, which means directors do not have to wait so long to watch daily newspapers. If the cameras are ready to take care of the director, such as Nolan, this should mean that they will be ideal for all his talented colleagues.

While this is great news for Nolan and everyone happy enough to live on driving from one of the 60mm to Imax theaters, is it really such a big deal for those of us who need to do with digital houses on IMAX? Absolutely. Because we already know that there is a significant demand for real IMAX thanks to the box office sensation that is Ryan Kogller's "sinners".

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AS /Movie Etan Anderton wrote during the first week of film release, "Sinners" offers an ecstatically intensified experience with IMAX. Even the digital format of the company is far more intense than what you get from the regular film house All (which is still very special independently, because this is a film that requires to watch in the theater). But the pure presentation of IMAX is, according to those who are lucky enough to have seen it, extremely transcendent.

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As a celluloidal supplement, I'm not surprised. Again, the wealth and texture of the 70mm projection is untouchable (sound sound). Koggler encouraged audiences to see his film in IMAX if they could swing, leading to excluded top sales in some cities. The film did such a phenomenal business in the IMAX that Warner Brosus repeats at 70mm this weekend. The only boomer here is that the SB hit only 10 70mm prints (which is rough, given that Universal hit 113 70mm fingerprints on Oppenheimer), so most of the US, once again, will not be pleased to visit the wrist of smoke and stackuk on the way Kogler intended.

This is a state of play now, but it doesn't have to stay this way. I have to think that exhibitors notice this demand for the IMAX 70mm and lead a few numbers to see what, if anything, is financial feasible to them. The construction of new houses on the IMAX 70mm would have cost a ton in the short term, but it will surely pay off in the long run when people realize that there is no better format in which they need to watch a movie. Exhibitors massively appreciate what Nolan has done for them over the years; They need to trust him (and koggler) and advance to the construction of at least a few new IMAX theaters. The terrain should be that watching a movie in this format is similar to the presence of a rock concert. (In fact, the Rolling Stones were way Before this notion when they fired "Stones of Max" in 1991.)

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The bad news is that they are likely to want to wait and see if this is just an instant trend, whipped by a Sui Generis blockbuster. In addition, we will not really know how efficient these new IMAX cameras are until other executives use them. But for the first time in 25 years, I have a real hope that the film can make at least a small comeback home and, perhaps, globally. If one can start with a celluloid renaissance, they are Christopher Nolan and Ryan Kogller.

You can check the "Odyssey" when you hit theaters on July 17, 2026.