Director Christopher Nolan discussed his adaptation of Homer’s epic poem, Odyssey. For this latest project, he altered the ending and removed elements he considered too “misogynistic.”
Warning: Spoilers ahead. Odyssey (2026)…
With an above-average ticket price, the film has made a significant impact at the box office. Released for IMAX viewing, it quickly became one of Nolan’s most controversial films.
Initial reviews highlighted the unusual casting of Lupita Nyong’o as Helen of Troy and Elliot Page as a Greek warrior. However, the criticisms largely centered on the thematic shifts Nolan made—specifically, his portrayal of the Trojans’ strategic deception as a profound evil that disrupted the world order and burdened Odysseus with guilt. He decided to keep the gods out of the narrative—though characters believe in their existence, they don’t actively intervene in the story. Odysseus interacts with a young woman who may represent Athena, but she appears as a hallucination stemming from his trauma, as revealed by Matt Damon.
A YouTuber and film critic known as “Little Platoon” described Odyssey as akin to a Vietnam War film but set in ancient Greece. In this version, Odysseus faces terrifying creatures and humans while confronting the chaos of war. He experiences moments of horror that shake his faith in himself and his mission. After being subjected to torment, he eventually sees a therapist—now portrayed by Calypso—who helps him deal with his traumatic experiences, unlike her role in the poem where she keeps him captive. After returning home to find his rival, a draft dodger, Odysseus ultimately feels morally conflicted about his past and decides to step down to let the next generation rebuild his kingdom.
In a recent interview with Time, Nolan addressed criticisms of his approach to classic texts, acknowledging that some might see his changes as revisionist. He mentioned that the original poem’s ending felt excessively brutal and misogynistic, leading to the exclusion of certain violent elements—like the grisly fate of the suitors upon Odysseus’ return, where they are killed, and housekeepers punished for their actions. The film’s approach is somewhat softer, with some suitors merely captured rather than executed.
Nolan indicated he didn’t want to entirely remove the themes related to humanity and warfare. He also reimagined Circe’s character to reflect these ideas. Rather than merely a deceptive sorceress, in the film, she explains her actions against Odysseus’ crew, addressing the toxic behavior of men.
The filmmaker’s depiction of Menelaus and Helen diverges from Homer, suggesting a more tumultuous possibility for their relationship post-war, which challenges the benevolence traditionally ascribed to Menelaus.
Are you suggesting Menelaus scarred Helen’s face because he felt she was to blame for the Trojan War?
I came up with this line: “The face that launched a thousand ships, or maybe just 500.” Sometimes you rely on instinct when writing. The poem doesn’t clarify what it means for Helen to return to Menelaus. Can there be anything but a dreadful marriage? (emphasis added).
Does it make sense he would look at her and think, “She’s so beautiful, I can’t harm her,” as seen in the myth?
A lot of terrible things occurred in that relationship. Our time with them in this narrative is quite brief, and I wanted to illustrate the profound impact of war.
The film faced backlash for perceived historical shortsightedness and for promoting feminist and anti-war messages. As critic Matt Walsh noted, “In ‘Apocalypto,’ Mel Gibson immerses you in the mind of a Mayan from 500 years ago. In ‘The Northman,’ Robert Eggers dives into a Viking’s psyche from 1,000 years ago. In ‘The Odyssey,’ Christopher Nolan puts you in the mind of a liberal woman from 2017.”
