First tickets to Christopher Nolan’s The Odyssey sell out – a year before its 2026 release

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The blockbuster adaptation of Homer’s epic has not finished filming and has no official runtime. But super fans – and scalpers – already have seats The first tickets to Christopher Nolan’s take on Homer’s Odyssey have gone on sale – before he’s even finished filming it and a year before the film is even out, in what is likely the longest pre-sale in cinematic history. The Odyssey, which stars Matt Damon as the cunning Odysseus as he fights his way home after the end of the Trojan war, will be released on 17 July 2026. But on Thursday, Imax released tickets to the first screenings at the 26 Imax cinemas around the world that have the staff and equipment required to project in 1570 format. Continue reading... from Film | The Guardian https://ift.tt/Bnfcmkv via IFTTT
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How did Hitler’s film-maker hide her complicity from the world?

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A new documentary delves into controversial German film-maker Leni Riefenstahl’s private archive to uncover a director who spent a lifetime covering up her central role in the Nazi propaganda machine

Leni Riefenstahl had several successes at the Venice film festival. In 1932, the festival’s inaugural year, the German film-maker’s mystical mountain drama The Blue Light made the official selection. In 1934, she picked up a gold medal for Triumph of the Will, her chronicle of the Nazi party congress in Nuremberg. In 1938, 10 weeks before Kristallnacht, she won best foreign film with Olympia, a two-part documentary of the summer Olympics in Berlin that was commissioned and financed by the Nazi government, overseen by the Reich ministry of propaganda and enlightenment, and released on Adolf Hitler’s birthday.

After the war, and until the day she died, aged 101, in 2003, Riefenstahl insisted that her films were only ever about award-winning art. Through the postwar decades, and over the course of four denazification proceedings, the film-maker presented herself as an apolitical aesthete. She had no interest in “real-world issues”. She was motivated only by beauty, creative opportunity and the perfection of her craft. Although she never disavowed her personal fascination with Hitler, she vehemently denied complicity with the atrocities of the Nazi regime. Olympia and Triumph of the Will were in no way tendentious, she told Cahiers du Cinéma in 1965. They were “history – pure history”.

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