The Cinema Pilgrims: How a Melbourne IMAX Became a Global Destination
There’s something deeply human about going to extraordinary lengths for something we love. But what happens when that ‘something’ is a movie theater? That’s the question I’ve been pondering after learning about the Melbourne IMAX phenomenon. It’s not just a cinema—it’s a destination, a cultural magnet pulling film enthusiasts from across the globe. And what makes this particularly fascinating is that it’s not about the city’s iconic beaches or coffee culture; it’s about a screen. A really, really big screen.
The Allure of the 70mm Experience
Let’s start with the core of this story: the IMAX 70mm format. Personally, I think this is where the magic lies. It’s not just a technical specification; it’s an experience. When Vincent Simmons, a 35-year-old projectionist from Los Angeles, spends $4,000 to fly to Melbourne just to watch The Odyssey, it’s not mere fandom—it’s a quest. What many people don’t realize is that the 70mm IMAX format is a dying art. The cameras are cumbersome, the film reels are massive (17km for a single print!), and the projectors are rare. There are only 41 theaters in the world capable of screening it, and Melbourne’s IMAX is one of them.
From my perspective, this scarcity is what makes it so compelling. It’s not just about watching a movie; it’s about experiencing it in a way that’s increasingly rare. Simmons calls it a ‘transcendent film format,’ and I couldn’t agree more. In an age where streaming has made cinema feel disposable, this is a reminder of film’s tactile, almost sacred quality. The grain, the warmth of the colors, the sheer scale—it’s a sensory feast that digital can’t replicate.
A Global Pilgrimage
What’s truly remarkable is how this single theater has become a global pilgrimage site. Kaivalya, a PhD student from India, pushed forward his relocation to Melbourne just to catch The Odyssey on opening weekend. Mitchell and Dimeth, two 22-year-olds from Brisbane, make it a ritual to watch Christopher Nolan’s films here. And then there’s Simmons, who’s turning his trip into a three-week odyssey.
If you take a step back and think about it, this is a testament to the power of cinema as a communal experience. It’s not unlike attending a concert or a sporting event—there’s a shared excitement, a sense of being part of something bigger. But what this really suggests is that cinema, in its purest form, is still capable of inspiring devotion. In a world where we’re constantly told that theaters are dying, Melbourne’s IMAX is a defiant counterpoint.
The Economics of Nostalgia
Here’s a detail that I find especially interesting: the Melbourne IMAX isn’t just a cultural phenomenon; it’s an economic one. With over 52,500 tickets sold for The Odyssey and a box office already past $2 million, it’s on track to break records. Jeremy Fee, the theater’s general manager, notes that people are flying in from Germany, Turkey, and even Sri Lanka. This isn’t just a movie release; it’s a tourism boom.
But there’s a catch. The infrastructure required to maintain this experience is staggering. The projectors are expensive, the film reels are cumbersome, and the expertise to run them is rare. Fee calls it a ‘perishable skill,’ and he’s right. This raises a deeper question: how long can this last? As digital takes over, will these 70mm theaters become relics of a bygone era? Or will they, like vinyl records, experience a renaissance?
The Future of Cinema as Event
In my opinion, what’s happening in Melbourne is a glimpse into the future of cinema—or at least, one possible future. As streaming platforms dominate, theaters need to offer something unique, something that can’t be replicated at home. The Melbourne IMAX has done exactly that. It’s turned movie-going into an event, a destination, an experience worth traveling for.
But it’s also a reminder of what we stand to lose. The 70mm format is more than just a technical achievement; it’s a connection to the history of film. When Simmons talks about the ‘lifelike fidelity’ of the format, he’s not just describing a visual experience—he’s describing a feeling. And feelings, as we all know, are what make art enduring.
Final Thoughts
As I reflect on this story, I’m struck by its duality. On one hand, it’s a celebration of cinema’s enduring power. On the other, it’s a bittersweet reminder of its fragility. The Melbourne IMAX is a beacon for film lovers, but it’s also a rarity—a last bastion of a format that’s slowly fading away.
Personally, I think this is a call to action. If we want experiences like this to survive, we need to support them. Whether it’s flying across the world or simply choosing a theater over a streaming service, every decision counts. Because if we lose these spaces, we lose more than just a way to watch movies—we lose a way to connect, to feel, to be part of something larger than ourselves.
And isn’t that what cinema is all about?
