Mia Khalifa Breaks Down Nolan's Genius IMAX Hustle Better Than Most Critics Ever Could

Yahoo

5 days ago

Look, I'm not saying I would sell my soul for Christopher Nolan's The Odyssey tickets in 70mm IMAX… but I am saying I'd loan it out at a high interest rate if it means seeing Matt Damon fight a Cyclops with 18K resolution and THX bass that slaps harder than your mama's cooking.
So when Mia Khalifa, yes, that Mia Khalifa, took to X (formerly Twitter forever petty) and dropped the nerdiest flex of 2025, my entire timeline came to a screeching halt.
'Survived war (secured tickets to The Odyssey in IMAX 70mm a year in advance)' she posted like a true cine soldier in Nolan's cult of visual devotion.
Girl, what?!
This isn't just securing tickets. This is securing bragging rights for LIFE. This is cinematic clout on god mode. This is the type of move that makes Film Twitter collectively fall to its knees like it just found the Holy Grail at the back of the Dolby Theatre.
And like clockwork, another user jumped in with:
'Yes I did get Odyssey tickets. No I'm not happy about this whole ordeal.'
Relatable. Because scoring these tickets ain't just about fandom, it's trial by fire. It's a multiversal battle where you're fighting bots, boomers, and bandwidth issues while praying your credit card doesn't decline in front of God and Christopher Nolan.
But Khalifa, now a certified 70mm evangelist, clapped back with facts only:
'It's so Nolan can prove demand early on before other studios book the IMAX theaters for their releases. Previously he's negotiated a certain amount of weeks for the theatrical but other films also have contracts with the IMAX theaters. If they sell out this early he can beat them to it and extend the theatrical release for longer rather than bringing it back for a week or two at a time.'
Translation? This ain't just about us. It's about cinema. She didn't just buy a ticket, she joined a damn revolution.
One Year Out, All Seats Gone. Nolan Really Said 'Plan Ahead Peasants'
On Thursday at midnight (or what we really call 'prime geek hour'), IMAX quietly dropped an announcement like Beyoncé in the Lemonade era: tickets were now on sale for the 70mm IMAX release of Nolan's The Odyssey. The catch? The movie don't come out till July 2026.
That's 365 days of anticipation. A full zodiac cycle. Four seasons and a leap year's worth of hype. And within ONE HOUR, 95 percent of those sacred seats were gone like Thanos just snapped them out of existence.
We're talking 25 or 26 handpicked IMAX theaters across the globe. NYC's Lincoln Square IMAX? Gone. Universal CityWalk in LA? Ghost town. Orange County? Dublin, San Francisco, and Fort Lauderdale? All vanished into cinematic nirvana.
And then the resale prices hit.
$300 to $400 a seat. I could've bought a PS5 and still had money for popcorn. But instead, somebody out there is flipping Odyssey tickets like it's the Super Bowl of storytelling. Which… it kind of is?
The Odyssey Nolan's Most Expensive Flex Yet
Oppenheimer was just the warm-up act. This time Nolan's turning all the dials to extra with The Odyssey, a $250 million adaptation of Homer's mythic road trip from hell.
And it's shot entirely in IMAX film cameras. Not 'some scenes.' Not 'for select sequences.' No, the whole damn thing. That's like filming your grandma's BBQ with a RED camera and a drone team.
Matt Damon leads as Odysseus (because apparently, if Nolan is making a movie about anything, Damon will find a way to be in it). Then you've got Zendaya as maybe Athena, Anne Hathaway as Penelope (twice confirmed in the cast list because once ain't enough), Tom Holland, Jon Bernthal, Lupita Nyong'o, Charlize Theron, Mia Goth, and Robert Pattinson rounding out the most elite ensemble this side of Mount Olympus.
It's not a cast. It's an Avengers team made up entirely of award season powerhouses.
Why We Do This: The Gospel of 70mm
Let me say this from the pulpit of Black cinephilia ain't nothing like seeing a Nolan film in 70mm IMAX.
You don't just watch a Nolan movie, you ascend. The chairs rumble. The aspect ratio breathes. The screen swallows you whole like Scylla and spits you out in emotional ruin by the credits. And if you were lucky enough to catch Oppenheimer in 70mm? You know what I mean. We walked out of that theater dazed, blessed, and needing therapy.
Now imagine that experience turned up to mythic. Imagine Sirens in full frame. A cyclops towering over you in ultra crisp detail. Imagine Nolan rendering Hades with the kind of scale usually reserved for natural disasters and Kanye West album rollouts.
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