Christopher Nolan's "The Odyssey" surpassed 10 million tickets sold in Korea on Sunday, just 33 days after its release, defying a broader slump in theater attendance. Analysts and critics point to the film's analog craftsmanship, its modern interpretation of Homer's epic, and the communal experience of theatergoing as the driving forces behind its success.

The 172-minute historical epic is the second film to reach the 10-million-ticket mark in Korea this year, following "The King's Warden," which sold 16.92 million tickets. It is also Nolan's second 10-million-ticket hit in the country, after the 2014 sci-fi blockbuster "Interstellar," which sold 10.38 million tickets.

Crossing 10 million admissions is widely regarded in Korea — a country of roughly 51 million people — as the threshold for a national box-office phenomenon, a benchmark roughly equivalent to one in five Koreans buying a ticket.

Backed by relentless demand, industry analysts predict "The Odyssey" will soon overtake "Interstellar" to become the director's highest-grossing release in Korea — raising the question of how it captured audiences' attention in an era of streaming dominance.

Commitment to analog format drives repeat viewings

The film drew widespread attention even before its release as the first feature film to be shot entirely with IMAX cameras. Despite the extreme weight and noise of the equipment, Nolan's commitment to analog filmmaking resonated deeply with audiences.

Pop culture critic Hwang Jin-mi said "moviegoers were moved by Nolan's serious dedication" to the medium and "responded just as seriously to the film's visual spectacle."

Demand surged for screenings at the IMAX theater at CGV Yongsan I'Park Mall, with tickets resold at more than seven to eight times face value. The spectacle also inspired repeat viewings, as fans returned to compare standard screenings against premium formats.

Modern take on a classic resonates

Critics also cite the film's modern adaptation of Homer's 2,800-year-old epic as a key reason for its appeal. Nolan focuses on xenia, the ancient Greek code of hospitality requiring hosts to shelter strangers and guests to treat their hosts with courtesy.

"While audiences are overwhelmed by the grand visual scale, they are also prompted to ask themselves if they are treating others according to the laws of xenia," pop culture critic Kim Sung-soo said. "This thoughtful exploration of community drew deep empathy from viewers."

Rather than portraying Odysseus (Matt Damon) purely as the victorious hero of the Trojan War, the film presents a human grappling with the trauma of war. Hwang said Nolan's intellectual depth weaves in contemporary issues.

"Director Nolan actively and modernly interpreted the original work, weaving in issues of race and feminism, and intellectually curious domestic audiences were captivated by the film's intellectual depth," she said. "The Film portrays Odysseus as a human suffering from post-traumatic stress disorder and grappling with existential anguish, critiquing the runaway U.S. President Donald Trump, but it does not stop at criticism; its mature stance urging self-reflection must have resonated with audiences as well."

A cinematic 'feel-good effect' streaming cannot match

Many critics noted that the film reminded viewers why they go to movie theaters in the first place. Despite a runtime of nearly three hours and its adaptation of a daunting classic, it delivers a thrill unique to theaters.

"The visual imagery and sound of 'The Odyssey' make viewers feel as if they have been pulled directly into that era," Kim said. "Experiencing this kind of spectacle together with other viewers is impossible on streaming services."

Pop culture critic Kim Hern-sik pointed to viewers' fatigue with purely provocative content on streaming platforms.

"Fatigue with streaming content that is merely provocative without offering genuine human connection likely also played a role," he said. "Audiences go to movie theaters for the emotional lift of moviegoing — a 'feel-good effect.' While 'The King's Warden' dealt with the tragedy of King Danjong, a deposed Joseon monarch, it left an uplifting feeling; 'The Odyssey' is similarly a comforting film that layers the director's insight over traditional storytelling."

The performance offers a rare bright spot for Korean exhibitors, who have struggled with weak overall attendance in recent years, and whether that momentum carries into the rest of the year's theatrical slate remains to be seen.

This article from the Hankook Ilbo, the sister publication of The Korea Times, was translated by a generative AI system and edited by The Korea Times.