It was a very warm homecoming at the box office this weekend for Christopher Nolan’s “The Odyssey,” as the star-studded epic grossed $124.5 million in the U.S. and Canada, a welcome and massive jolt for theaters after a series of slower weeks.
The Universal Pictures film’s haul outperformed studio expectations of a $117-million domestic opening and set a record for the highest-grossing opening weekend for a live-action or R-rated film so far this year.
“The Odyssey” now ranks as the third-highest domestic debut of 2026, trailing only Disney and Pixar’s “Toy Story 5”($159.7 million) and Universal, Illumination and Nintendo’s “The Super Mario Galaxy Movie” ($131.7 million).
The film, which stars Matt Damon as Odysseus, brought in a total of $264.1 million worldwide, according to studio estimates. That marks the biggest global opening ever for a Nolan film.
“The Odyssey” was produced by Nolan and his wife and producing partner Emma Thomas for their company, Syncopy, and had a production budget of about $200 million to $250 million.
“It delivers on every sort of promise,” said Jim Orr, Universal’s president of domestic distribution. “It is totally immersive. It is great emotional storytelling. It is something that truly has to be experienced on the big screen.”
The nearly three-hour epic is the first feature to be shot entirely on Imax cameras, a feat that required extensive cooperation between Nolan and the Canadian entertainment tech company, which operates out of Playa Vista.
Nolan first told Imax Chief Executive Rich Gelfond in early 2024 that he was considering making an entire film with Imax cameras and laid out what he’d need for that to happen, including a quieter and lighter camera, a way to make film reloads easier and getting enough trained projectionists.
“It took a fair amount of time and investment” to figure out those challenges, Gelfond said. But by August 2024, the Imax team put together a series of tests to show cinematographer Hoyte van Hoytema. Two months later, Nolan saw the tests and was impressed.
“As filmmakers and studios integrate Imax, we become an increasingly important part of the ecosystem,” Gelfond said. “When a film is released in Imax or shot in Imax, I think it’s a signal to audiences that it’s somewhat special, and the filmmaker is really leaning in in a unique way.”
Anticipation for the film has been building for at least a year, when the first Imax 70mm tickets went on sale. Pre-sales for “The Odyssey” shattered the previous Imax record by nearly double, the company said.
Enhanced formats made up 53% of the domestic weekend’s total, with both film and digital Imax revenue comprising 23.8%. Imax 70mm comprised about 4% of that total, with Imax digital making up the rest. Non-Imax 70mm film screening revenue totaled 3%, while 35mm showings made up 0.3%.
Adding to the film’s mystique is Nolan’s reliance on old-school Hollywood practical effects, such as his use of puppetry, animatronics and robotics in scenes with the Cyclops, as well as a real Viking boat that the actors learned to sail.
The massive reception for the film is a relief for theater owners, who weathered their own rough waters in the last few weeks, as Walt Disney Co.’s live-action “Moana” underperformed in its opening at the box office and Universal and Illumination’s “Minions & Monsters” had a softer debut.
So far this year, the summer-to-date box office is about 7% higher than the same time period last year, though it still lags pre-pandemic summer 2019 revenue by about 9%.
“Moana” came in second at the box office this weekend with a domestic haul of $19 million. “Minions & Monsters” ($14.8 million), “Toy Story 5” ($14.8 million) and Warner Bros. Pictures’ “Evil Dead Burn” ($5 million) rounded out the top five, according to data from Rentrak.
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