Beyond Nolan: Which Filmmakers Could Shoot an Entire Film on Imax?

Christopher Nolan's "The Odyssey" made history in May 2025 when it was revealed as the first feature film shot entirely with Imax 70mm cameras. The announcement turned heads across the industry, and with the film now approaching $300 million domestically and Imax 70mm screenings selling out weeks in advance, the appeal of full-Imax production has never been stronger.

An Imax source says that the film's success is likely to push interest in shooting entirely on Imax "into another stratosphere." But the question remains: which filmmakers, beyond Nolan, have the combination of skill, resources, and studio backing to take on such a challenge?

The Cost of Shooting Entirely on Imax

Shooting a full film on Imax is far from inexpensive. "The Odyssey" carried a $250 million production budget, making it the most expensive project of Nolan's career. A significant portion of that cost comes from the film stock itself. Raw 70mm film costs approximately $1.50 per foot, and "The Odyssey" consumed roughly two million feet — translating to about $3 million in stock alone.

Beyond the raw material, developing and processing add substantially to the bill. According to a source, a single print of "The Odyssey" costs $50,000, and it is up to the studio to determine how many prints are ultimately produced. These figures illustrate why full-Imax shoots remain rare and why only well-funded productions can realistically consider the format.

Denis Villeneuve: Already Embracing Imax Film

Denis Villeneuve has already taken a major step toward full-Imax production. The director revealed that he shot a significant portion of "Dune: Part Three" using Imax 70mm film, marking the first time he worked with the format.

At the film's trailer event, Villeneuve explained his approach: "A big part of it was shot in Imax film, which was the first time for me, but I kept the desert in digital because I like the brutality of the digital Imax." He described the experience of filming with Imax cameras as unique, adding, "When you see the result on screen, it's quite unmatchable. I hope I will have the chance to do it again."

Villeneuve's next project — the upcoming James Bond film — could provide a large-scale canvas that lends itself to the format. Given his enthusiasm and growing experience with Imax film, he is widely seen as a strong candidate to eventually shoot an entire feature on Imax.

Ryan Coogler and the Marvel Frontier

Ryan Coogler is another director whose name surfaces in the Imax conversation. His next film, "Black Panther 3," was announced during Marvel Studio's Comic Con panel as being partially shot in large format on 70mm film — a first for the Marvel Cinematic Universe.

Coogler previously collaborated with cinematographer Autumn Durald Arkapaw on "Sinners," where they combined 15-perf Imax film for a towering 1.43:1 aspect ratio with Ultra Panavision 70 for an ultra-wide 2.76:1 ratio. Whether Durald Arkapaw will shoot "Black Panther 3" has not been confirmed.

An Imax source praised Coogler as "an amazing partner," noting the company's deep involvement with "Sinners." The source added, "We hope that he would do it again without question." When asked whether Coogler might take on a full-Imax shoot, the source was cautious but optimistic: "We cannot speak at all to whether they're interested in the challenge of taking it on fully. But we have enough cameras and we have enough blimps that if those guys wanted to do it, we would figure out a way to make it happen."

A Growing Ecosystem of Imax Productions

The success of "The Odyssey" has coincided with a broader wave of Imax-formatted projects. Michael B. Jordan's "The Thomas Crown Affair" remake was shot for Imax, as were "The End of Oak Street," "Resident Evil," and "Digger," the latter filmed in VistaVision and presented in Imax. Meanwhile, "Project Hail Mary" was captured with an Imax-certified digital camera, though Imax created film prints for theatrical exhibition.

Imax says its mission is to serve filmmakers by offering a range of options. The company works in partnership with Kodak and Fotokem to produce film prints, and the source emphasized that scheduling and preparation are the primary considerations. "As long as we're able to handle it from like a scheduling perspective in terms of the cameras, and as long we have enough time to work on each production to create the film prints in partnership with Kodak and Fotokem, we're willing to do as much as people want to do," the source said.

Whether on film or digital, Imax continues to be a box-office differentiator. As audiences fill theaters for the premium experience, the format's influence on how major films are made — and who gets to make them — appears poised to grow. If Villeneuve, Coogler, or another ambitious filmmaker decides to shoot an entire feature on Imax, the infrastructure and support appear ready.

What do you think — will we see more directors take on the challenge of shooting entirely on Imax, or will Nolan remain in a league of his own? Share this article and join the conversation.

Source: Variety