ROCHESTER, N.Y. — This past summer, securing tickets to see Christopher Nolan’s film “The Odyssey” became a highly sought-after event for cinephiles, as audiences competed to experience the first feature film shot entirely on 70-millimeter IMAX film. The movie, an adaptation of the ancient Greek epic, has grossed over $1.6 billion worldwide and helped spark renewed interest in analog film formats.
Despite the dominance of digital technology in recent decades, a growing number of filmmakers, including Nolan, have advocated for the continued use of physical film as a distinct artistic medium rather than a mere outdated technology. Alongside “The Odyssey,” other projects such as the thriller “Disclosure Day” and the drama “The Invite” have also chosen to utilize traditional film formats.
At the heart of this revival is the Eastman Kodak Company, whose manufacturing facility in Rochester, New York, remains the sole producer of high-quality color motion picture film for Hollywood. Once a global leader in photographic film, Kodak filed for bankruptcy in 2012 amid the widespread transition to digital cameras, shrinking considerably from its peak size. However, since emerging from bankruptcy in 2013, the company has diversified into pharmaceuticals while maintaining its film production at the 1,200-acre Eastman Business Park.
The film manufacturing process begins with the production of polyester plastic on site, which is then coated with layers of photosensitive chemicals. Because exposure to light ruins the material, much of the process from chemical treatment to packaging occurs in total darkness or under specialized conditions. The film is cut into narrow strips, perforated with sprocket holes to drive it through cameras and projectors, and finally spooled, vacuum-sealed, and shipped in steel canisters.
Kodak also recycles silver recovered from remnants created during the perforation stage, an example of the company’s attention to sustainability within its specialized manufacturing.
Projection of “The Odyssey” on the approximately 40 IMAX 70-millimeter screens worldwide involves meticulous handling by skilled projectionists. At AMC Lincoln Square 13 in Manhattan, projectionist Chuck Snow demonstrated the exacting routine of loading and running the bulky film reels through a specially designed projector operating at 24 frames per second. Such projection maintains the tactile and visual fidelity that filmmakers like Nolan argue digital formats cannot replicate.
Nolan has emphasized that the use of film is not driven by nostalgia but by the medium’s unique qualities. He likens the experience of viewing film-projected images to seeing an original print of a classic movie, a contrast to the altered image quality found on digital formats like DVDs or streaming.
The relationship between Nolan and IMAX has been integral to the resurgence of film. IMAX cameras and screens, traditionally associated with museum documentaries, began to gain prominence in Hollywood through Nolan’s films starting with the 2008 “The Dark Knight.” In 2014, following the success of these ventures, IMAX’s chief quality officer David Keighley encouraged Nolan and producer Emma Thomas to meet Kodak’s new CEO, Jeff Clarke, to advocate for the continuation of film production. Their efforts were credited with influencing Kodak’s decision to maintain manufacturing. Nolan dedicated “The Odyssey” to Keighley, who passed away last year.
While digital technology continues to dominate mainstream filmmaking, the dedicated niche of filmmakers, projectionists, and manufacturers in Rochester demonstrates a sustained commitment to the art and craft of film, preserving it as a parallel medium in contemporary cinema.