This past weekend, the most sought-after movie ticket was for a film that has long been accessible for home viewing: Christopher Nolan’s “Interstellar.” The science fiction blockbuster, featuring stars like Matthew McConaughey and Anne Hathaway, raked in an impressive $4.5 million from only 166 screenings across the U.S. and Canada. Its 70mm IMAX showings sold out rapidly, prompting cinemas to adjust their scheduling and customers to pay as much as $300 in the secondary market. The engagement was substantial, with those ten IMAX screens averaging around $70,000 each—one of the highest per-theater averages seen this year, a distinction usually held by smaller, highly-acclaimed arthouse films.
A decade after “Interstellar” enjoyed its initial release—despite the prevailing trend towards digital formats championed by its studio, Paramount—the film’s resurgence indicates a powerful return to cinema. Nolan expressed his delight at the audience’s response during a recent interview, highlighting how gratifying it is to see people connect with the film a decade later. He emphasized the joy of new viewers discovering the film in its intended format on imposing IMAX screens, making the experience even more rewarding for him as a filmmaker.
Nolan’s commitment to the traditional film medium became his hallmark, much like the character Cooper in “Interstellar,” who clings to outdated skills. “Interstellar” stands as a testament to Nolan’s dedication to celluloid at a time when the industry was shifting heavily towards digital. He recalled how the film format felt endangered during its production. The effort invested in bringing the film to IMAX in 70mm stemmed from a fondness for the medium, and Nolan had reservations about how long such opportunities would remain viable.
While the film was met with positive reviews and Oscar nominations during its initial release—although they focused largely on technical achievements—its status has elevated over time. Nolan noted that many fans had expressed their wishes to experience the film on the big screen, bringing forth discussions about its deeper themes of love, family, and exploration. He identified many of those eager to see the film as younger viewers who had only experienced it at home.
Following various international re-releases, including screenings in China and at the Science Museum in London, Nolan seized the chance to collaborate with IMAX and Paramount for a North American revival in honor of “Interstellar’s” 10th anniversary. The prints, according to Nolan, remain in pristine condition.
IMAX was already keen on the idea, having received numerous requests via social media regarding the film’s anniversary screenings. Company CEO Rich Gelfond remarked that the initial response reminded him of the excitement surrounding “Oppenheimer,” though the turnout exceeded their expectations.
“Interstellar” has since become the ninth highest-grossing IMAX film of all time, just behind “The Last Jedi.” IMAX is exploring re-representation tactics in various markets.
This weekend served as a significant indicator for Hollywood about the current landscape of cinema-going. The buzz generated by “Oppenheimer” affirmed the audience’s desire for traditional film experiences. IMAX screens contributed to about 20% of the box office earnings generated by this year’s Academy Award-winning film, which is ranked fifth in IMAX grosses. The following releases, such as “Dune: Part Two,” also saw extended sell-outs, reinforcing the trend.
Though the promotion for “Interstellar’s” re-release was relatively subdued, the film generated massive anticipation among fans. Before IMAX even announced ticket availability, individuals noted that AMC had begun selling them. Consequently, every 70mm IMAX showing at a key New York location was sold out within a short time frame—even during late night slots. After an unexpectedly strong turnout, additional screenings for the week were quickly organized, which filled up just as fast.
Nolan stands out in the industry as a filmmaker whose name alone can draw audiences, but the events of this weekend hold lessons for others. He underscored the unique power of the communal cinematic experience—one that audiences cherish even for films they’ve previously seen at home. Nolan stressed that the communal theatrical experience is unparalleled and continues to resonate strongly, especially amidst other successful productions like “Wicked,” “Gladiator II,” and “Moana 2.”
Looking ahead, Nolan expressed excitement over the new opportunities and innovations in filmmaking. Recently, he relished the chance to view “Interstellar” on the big screen again, attending the showing with his Oscar-winning cinematographer, Hoyte van Hoytema, marking their first venture with IMAX cameras together.
He mentioned finalizing a new 4K UHD edition of “Interstellar,” hinting at future projects without revealing specific details, expressing a commitment to intensive explorations of new film technologies with IMAX for his next endeavor. Nolan praised the innovative spirit of the IMAX engineering team and expressed a desire to continue pushing boundaries in the celluloid film sector.
Despite his busy schedule, he found time to enjoy the cinema over the weekend, attending a showing of “Wicked” and sneaking a glimpse of his own film’s IMAX presentation. Reflecting on its success, he described it as a truly magical experience to witness a full house for “Interstellar” a decade after its initial launch.