By admin 
IMAX China is poised to dedicate an overwhelming majority, if not its entire network of nearly 800 screens, to Christopher Nolan’s highly anticipated film, “The Odyssey,” upon its mainland China debut on August 14th. This strategic decision underscores the immense anticipation surrounding the release, with IMAX China CEO Daniel Manwaring projecting an "enormous" audience response. "I’m expecting a very large majority of our entire network, if not all of our network, that first week will be playing ‘The Odyssey’,” Manwaring stated in an exclusive interview with Variety. This unparalleled commitment to a single film signifies a rare and powerful endorsement of Nolan’s cinematic prowess and the anticipated appeal of “The Odyssey” in one of the world’s most crucial film markets.
The excitement is further amplified by the imminent arrival of director Christopher Nolan and star Matt Damon in Beijing on July 30th. Their visit will mark a historic occasion: the first-ever red carpet event for a commercial film to be held at the prestigious China National Film Museum. This government institution, historically significant for hosting IMAX’s early ventures in China, including the original launch of “Avatar,” sets a grand stage for the “The Odyssey” premiere. The planned events extend beyond the museum, with two screenings scheduled in Beijing, complemented by a separate engagement at an IMAX theater within Universal Beijing Resort. Manwaring emphasized the extraordinary level of enthusiasm, noting, “We haven’t seen enthusiasm for a film like this in quite some time.” He further illustrated this by revealing the personal influx of inquiries, stating he receives “50 to 60 WeChats every day of people requesting tickets for the movie.” This personal anecdote highlights the grassroots fervor and direct consumer demand that is building for the film.
Leading up to the wide release, IMAX China is implementing a strategic preview rollout. Screenings will commence on August 1st and 2nd in key metropolitan hubs: Beijing, Shanghai, Guangzhou, and Shenzhen, with a single screening per day in each city. Manwaring indicated that IMAX China is already operating at peak capacity, buoyed by robust pre-sales for “Spider-Man: Brand New Day” two weeks prior. However, he astutely differentiated the audience demographics for the two films. He characterized “The Odyssey” as “more of a first-tier city type of film,” drawing a parallel to the North American market where similar films tend to perform best in major urban centers like New York, Los Angeles, and Chicago. This segmentation suggests a targeted marketing and exhibition strategy, focusing on urban demographics that are typically more receptive to auteur-driven cinema and visually spectacular large-format presentations.
Even before the mainland China release, IMAX’s presence in Hong Kong and Taiwan has demonstrated early success. The company has already secured over 30% of the box office share in both markets, with combined receipts approaching half a million dollars. Manwaring described these figures as “a lot for small, tiny, island markets,” underscoring the strong initial reception and the inherent potential of the IMAX format in these regions.
Further validating the burgeoning anticipation, ticketing agency Maoyan Pro reported that as of July 24th, “want to see” registrations for “The Odyssey” had surpassed 252,000. This figure places it ahead of all other upcoming imported titles tracked by the platform, a significant indicator of pre-release audience interest. Maoyan Pro data further reveals that this early interest is predominantly concentrated among users in tier-one and tier-two cities and among moderate-to-frequent moviegoers. For comparative context, “Spider-Man: Brand New Day” registered 810,000 “want to see” counts, while other notable upcoming films like “Minions & Monsters” had 234,000, “The Devil Wears Prada 2” at 203,000, “Toy Story 5” at 189,000, and “Backrooms” at 115,000. Among local Chinese productions, “Kung Fu Soccer” leads the pack with a substantial 649,000 registrations, indicating the strong domestic competition “The Odyssey” will face.
While official pre-sales for “The Odyssey” have not yet opened in mainland China, Maoyan Pro data offers insights into the potential revenue based on past performance of similar releases. Recent Hollywood imports such as “Minions & Monsters” and “Toy Story 5” each exceeded RMB 14 million ($2.1 million) in pre-sales, with “Project Hail Mary” surpassing RMB 12 million ($1.8 million). The performance of Nolan’s previous film, “Oppenheimer,” serves as a crucial benchmark for IMAX’s impact on visually driven titles in China. “Oppenheimer” grossed a remarkable RMB 452 million ($66.8 million) in mainland China, with the IMAX format alone contributing an impressive RMB 137 million ($20.2 million), representing over 30% of the film’s total box office. This demonstrates the significant premium and audience preference for Nolan’s films presented in the IMAX format within China.
Christopher Nolan’s popularity in China has been a steadily growing phenomenon, evolving over years of critically acclaimed and commercially successful releases. Manwaring articulated this trend, stating that Nolan has become “bigger than any movie star” in the country. He elaborated on the depth and loyalty of Nolan’s fanbase, describing them as “enormous but extremely sticky. These are fans that are lifelong… diehard.” This enduring and devoted following has been cultivated through a series of impactful films. Nolan’s prior release, “Oppenheimer,” achieved substantial success in China, earning $9 million in its initial five days and ultimately grossing close to $20 million during its theatrical run.
Manwaring characterized Nolan’s ascent in the Chinese market as a “small snowball” that has “continuously getting bigger and bigger and bigger.” He traced this trajectory from the re-release of “Memento” through the monumental success of “The Dark Knight,” “The Dark Knight Rises,” and culminating with “Oppenheimer.” He coined this phenomenon the “Nolan effect,” a testament to the director’s consistent ability to captivate and resonate with Chinese audiences. The exceptional performance of “Oppenheimer” served as a powerful illustration of this snowball effect, solidifying Nolan’s status as a directorial powerhouse in the region.
When questioned about the factors contributing to the confidence that “The Odyssey” will become a genuine event movie, Manwaring unequivocally pointed to the “Christopher Nolan effect” as the primary driver of IMAX’s optimism. Beyond the director’s immense draw, he lauded the film itself, describing it as “one of the greatest poems ever made and told through the greatest filmmaker’s lens ever made.” This poetic framing suggests a profound artistic ambition for “The Odyssey,” aligning perfectly with Nolan’s reputation for crafting intellectually stimulating and visually arresting cinematic experiences.
Regarding the exhibition format, Manwaring acknowledged that while there are currently no 70mm IMAX locations in Asia, IMAX China is engaged in “very serious discussion” to introduce this premium format to the region. In the interim, China’s six mainland GT (Galileo Transformation) theaters have emerged as de facto pilgrimage sites for discerning cinephiles. These theaters, equipped with powerful laser-projector systems installed during IMAX’s earlier phase of installations in science and technology museums, are now highly sought-after venues. The trend gained significant momentum with last year’s animated blockbuster “Ne Zha 2,” where fans traveled across the country specifically to experience it in a GT theater. Manwaring drew a parallel to the cultural significance of the 70-millimeter theater at London’s BFI, highlighting the dedicated fan base that actively seeks out these superior exhibition environments. He further expressed the company’s clear interest in expanding such premium installations globally, recognizing their appeal to a dedicated segment of the audience.
Manwaring observed that Chinese audiences exhibit a heightened technical awareness compared to their U.S. counterparts. He noted that moviegoers in China are more inclined to scrutinize screen specifications and laser projection systems. "They just say, ‘OK, IMAX big screen, that’s great.’… I think the audience pays even more attention to that in China than they do in other parts of the world,” he explained. This indicates a sophisticated consumer base that appreciates and actively seeks out the technical excellence that IMAX provides, going beyond a general acknowledgment of the brand to a deeper understanding of its technological superiority.
Reflecting on IMAX China’s financial performance, the first half of the year saw declines in both revenue and profit. Manwaring attributed these results to a softer-than-anticipated Lunar New Year slate and a relatively dry period in April and May, particularly concerning local-language titles. He framed these fluctuations as inherent to the cyclical nature of the exhibition business, stating, “That’s the nature of our business. Sometimes it comes in cycles.” Looking ahead, Manwaring expressed optimism for a stronger second half, bolstered by the release of “Spider-Man: Brand New Day” and “The Odyssey,” alongside the anticipated local hit “Kung Fu Soccer” and Disney’s upcoming “Avengers: Doomsday.” This robust lineup is expected to drive significant box office returns and contribute to a rebound in financial performance.
Manwaring further articulated that IMAX’s competitive edge in the premium large-format (PLF) landscape is increasingly shifting from technical specifications alone to encompass exclusive content. This strategic pivot includes showcasing events such as Formula One races, concerts, esports championships, and documentaries, in addition to their established “Filmed for IMAX” program with local filmmakers. This program, which commenced with the 2020 film “The Eight Hundred,” aims to foster deeper collaboration with Chinese directors. He recalled the early days of this program, stating, “We used to be in the sales side of the business, trying to talk about why it’s so great.” He now observes a shift in the industry, noting, “Now I think every single Chinese filmmaker, if they are going and shooting a film that they feel deserves that IMAX canvas, they aren’t thinking just about converting it or formatting it in post.” When asked about the possibility of a Chinese filmmaker eventually shooting an entire film on IMAX film cameras, mirroring Nolan’s approach with “The Odyssey,” Manwaring expressed strong enthusiasm. “There is nothing more that I would love to do,” he said, acknowledging the rising demand for film cameras among Hollywood directors beyond Nolan. However, he tempered this aspiration with the reality of cost and logistical challenges that currently pose significant barriers to widespread adoption.
In terms of expansion, IMAX China maintains a robust pipeline with nearly 200 sites in development. The company continues to prioritize growth in higher-tier cities, a departure from its pre-pandemic strategy that emphasized mall-driven expansion in lower-tier markets. Concurrently, IMAX China is focused on upgrading older systems to its advanced laser technology. “Growth is a priority, and we do see the network growing in China,” Manwaring affirmed. He also highlighted the potential of alternative content as a means to broaden the company’s addressable audience. Citing survey data from NBA Finals broadcasts, he revealed that “80% of the audience for that event hasn’t even been to a movie theater in five years to watch a film.” Crucially, when these same attendees were surveyed about their willingness to return for a movie, “90-something %” expressed a positive inclination. This statistic underscores the untapped potential within a lapsed moviegoing demographic, which alternative content can help re-engage.
Manwaring concluded with a poignant reflection on the fundamental appeal of the cinematic experience, stating, “A lot of people in the across the world forgot how great it is to go sit in a really dark movie theater and be immersed into a story.” He believes that leveraging alternative content events is a vital strategy to draw audiences back into the immersive environment of the cinema, reaffirming IMAX’s commitment to delivering unparalleled viewing experiences that transcend traditional film screenings.
