The Hollow Redemption of the Odyssey

Christoper Nolan’s acclaimed retelling of the epic Greek poem provides too satisfying an ending in a world of brutality, writes Kamin Mohammadi

Much has been written about Christopher Nolan’s The Odyssey. This is not another review. Not another piece on whether he should have cast a black Helen of Troy, or reimagined Calypso as a psychedelic therapist healing Odysseus’ PTSD.

It is easy, reading the reviews, to forget these characters are myth: fables told across millennia, transmitted orally, fluid, and open to each storyteller’s flourishes.

There is no one, real verifiable Homer, let alone an Odysseus or a Helen. These are archetypes that inhabit our imaginations.