Christopher Nolan is pushing the boundaries of film—again. The Oscar-winning director of “Oppenheimer” is set to become the first filmmaker to shoot an entire feature using IMAX cameras, according to The Hollywood Reporter. It’s a bold move that could transform how audiences watch and experience blockbuster films.

Directors have traditionally used IMAX cameras only for select scenes. The gear is massive and noisy—loud enough to drown out dialogue. That bulk and sound have kept most filmmakers from using them more extensively.

But for his upcoming film “The Odyssey,” Nolan wasn’t interested in snippets. He wanted the whole thing shot in IMAX, so he challenged the company to build something new.

“Chris called me up and said, ‘If you can figure out how to solve the problems, I will make [“The Odyssey”] 100 percent in IMAX.’ And that’s what we’re doing,” IMAX CEO Rich Gelfond said at the company’s annual press lunch in Cannes. “He forced us to rethink that side of our business, our film recorders, our film cameras.”

In response, IMAX engineered a next-gen camera system: smaller, quieter, and still capable of capturing that ultra-high-resolution footage meant for their signature screens. For now, the custom tech is exclusive to Nolan. But once filming wraps, IMAX plans to rent the cameras to other directors—many of whom are already lining up.

The demand makes sense. IMAX is having a blockbuster year, with filmmakers increasingly using the format to elevate the theatrical experience. Recent and upcoming titles with scenes shot in IMAX (or approved digital alternatives) include Ryan Coogler’s “Sinners,” Tom Cruise’s “Mission: Impossible – The Final Reckoning” (which premiered this week at Cannes), and Joseph Kosinski’s high-octane “Formula One” film starring Brad Pitt.

Nolan, for his part, has been championing the IMAX format for nearly two decades. He first experimented with it in 2008 while filming action sequences for The Dark Knight. According to The Verge, he’s been an “IMAX loyalist” ever since.

With “The Odyssey,” Nolan isn’t just making a movie—he’s making a statement about what cinematic storytelling can look (and sound) like in 2025.