Odysseus sails west with nowhere left to go

Christopher Nolan has done it again. Contrary to what you may have heard, “The Odyssey” is a profoundly conservative film.

Rather than modernize Homer or turn the poem into another sermon about race, gender, or contemporary politics, Nolan has made a movie about the collapse of civilization itself. The central question is not simply whether Odysseus will make it home. It is whether a civilization built on pagan foundations possesses the moral resources to repair the evil it has unleashed.

If the West fears civilizational collapse, it will not find salvation in pagan Greece. It must look to Christ, the light to the gentiles.

Visually, “The Odyssey” delivers everything audiences expect from Nolan: breathtaking cinematography, immense scale, intricate storytelling, and dialogue as dry as dust. His familiar playfulness