The Odyssey and Beyond – Why Nolan is Important for Film Now 

By Jamie Keegan

I was coming to find 2026 a quite disappointing year for film halfway through. From the underwhelming surface-level “weirdness” of The Bride! to Steven Spielberg’s cringeworthily out-of-touch Disclosure Day to the insultingly dull by-the-numbers superhero blockbuster that was Supergirl. With most of my goodwill going towards unexpected sleeper hits like Obsession and Backrooms, it seemed as if there wasn’t a lot apart from horror worth going to the cinema to see (Though Project: Hail Mary was a breath of fresh air in terms of feel-good science fiction). Yet, against the controversy and suspicions from various sides, Christopher Nolan’s rendition of The Odyssey has met my expectations and given me more appreciation for the man as not just a filmmaker, but as a proponent of the art-form itself. 

I’ve found myself in the middle when it comes to Nolan for a while now. I always adored his Batman films (though The Dark Knight Rises doesn’t age well in retrospect), but some of his later work had me doubting his apparent greatness that film bros swore by. Tenet was of course a total misfire; Dunkirk was worth a single viewing and no more and I personally view Interstellar as the most overrated film in existence. He won me over in 2023 with the brilliant Oppenheimer that proved enthralling and thoughtful throughout every minute of its three-hour runtime. And now with The Odyssey, I’m reflecting on not just his skills but also how important his films may prove in the current state of cinema. I don’t think it’s a perfect film by any stretch, it does not quite compare to Oppenheimer, but I was blown away by the craft and passion erupting in Nolan’s big-budget ancient Greek epic. From the room-shaking roars of the Cyclops to the shockingly grotesque metamorphosis of men into pigs to the quiet melancholy of the Sirens scene (Composer Ludwig Göransson again proving he’s one of the best in the business). It was a great blend of exciting spectacle and meaningful commentary.

At its core, it’s a film about compassion and community and the consequences that come from people failing to treat each other with dignity. And I believe it’s for those reasons this film will endue and also why this film is important. 

In an age where respected juggernauts in the film industry have given their tacit support or at least interest in AI use in art, from Martin Scorsese [1] to George Lucas [2], Nolan has made his scepticism clear. Not only did he praise Gen Z for their “wholesale rejection” of it, but he also praised said rejection as marking a new interest among younger people in artistic expression. [3] He was a huge advocate for Ryan Coogler’s box office smash hit and critical darling Sinners last year both in filming and in the lead up to the Oscars. [4] And he has given high praise for the Gen Z up and coming filmmakers Curry Barker and Kane Parsons for the aforementioned Obsession and Backrooms respectively. [5] Being a successful talent is one thing, but Nolan has recently shown a humility and grace that puts him above whatever image of him that various film bro forums may have cultivated. 

Of course, he’s an acquired taste. The Odyssey won’t win over everyone, even those not part of disingenuous outrage culture. Long-time complaints of his skills in writing female characters and his tendency for predominantly white casts have only marginally been mitigated by his last few entries, and those criticisms do matter. However, in a movie culture that is becoming ever-more saturated with slop with ever-diminishing returns, Nolan stands as an established figure in the industry who remains committed to the goal of providing audiences with not just a good film, but a good film experience.

He may not be the best in the business, but there’s an argument to be made he’s the most popular. And personally I’m grateful he’s using that platform to throw his support behind the art of film and praise new talent. 

[1] Youngs, Ian. “Martin Scorsese gets backlash after endorsing ‘creatively freeing’ AI.” BBC News, 3 June 2026. https://www.bbc.com/news/articles/c7942qzr22vo. 

[2] Phelan, Laurence. “George Lucas likens AI sceptics to luddites clinging to horses and carts.” The Guardian, 15 July 2026. https://www.theguardian.com/film/2026/jul/15/george-lucas-likens-ai-sceptics-to-luddites-clinging-to-horses-and-carts.  

[3] Collins, Robbie. “Christopher Nolan: ‘If I owned a smartphone I’d be horribly addicted.’” The Telegraph, 10 July 2026. https://www.telegraph.co.uk/films/2026/07/10/christopher-nolan-interview-odyssey-backlash/.  

[4] Garner, Glenn. “Christopher Nolan Assured Ryan Coogler It ‘Wasn’t Crazy’ to Film ‘Sinners’ on Imax.” Deadline, June 27 2026. https://deadline.com/2026/06/christopher-nolan-ryan-coogler-wasnt-crazy-sinners-imax-1236969143/.  

[5] Collins, The Telegraph.