Christopher Nolan’s filming of The Odyssey in Western Sahara sparks backlash over human rights concerns in Moroccan-occupied territory.
High-Profile Production Sparks Controversy
Acclaimed filmmaker Christopher Nolan is drawing criticism from human rights groups for choosing the disputed Western Sahara as a filming location for his upcoming epic, The Odyssey, set for release on July 17, 2026. While anticipation for the film is high—IMAX 70mm screenings sold out a year in advance—the project is now under scrutiny for being shot in a territory long claimed and controlled by Morocco but still considered non-self-governing by the United Nations.
Human Rights Groups Sound the Alarm
The Western Sahara International Film Festival (FiSahara), based in Algerian refugee camps, is leading a campaign urging Nolan and his star-studded cast—including Matt Damon, Zendaya, Anne Hathaway, and Tom Holland—to halt filming in the region. Organizers argue that Morocco continues to suppress the local Sahrawi population’s freedom of expression and that hosting a major production there risks “normalizing occupation.” Amnesty International and the UN Human Rights Office have echoed concerns, citing reports of surveillance, repression, and violent crackdowns in the area.
Western Sahara: A Long-Standing Dispute
Western Sahara, a vast desert territory along the Atlantic coast of North Africa, has been at the heart of a geopolitical conflict since Spain withdrew in 1975. Morocco annexed the land, igniting a war with the Polisario Front, which seeks Sahrawi independence. Although a UN-brokered ceasefire was reached in 1991, promises of a referendum on self-determination remain unfulfilled. Today, most of the Sahrawi population lives under occupation or in refugee camps across the border in Algeria.
Political Ramifications of Hollywood’s Presence
FiSahara and Sahrawi filmmakers argue that while Western productions are welcomed by Moroccan authorities, local artists face censorship and threats. Journalist and director Mamine Hachimi, known for the documentary Three Stolen Cameras, criticized Nolan’s decision, saying “Art should defy injustice, not perpetuate it.” Meanwhile, Moroccan-backed initiatives, like the Dakhla International Film Festival, continue to grow, raising questions about the use of soft power to legitimize Morocco’s territorial claims.
Silence from the Studio and Director
As of now, neither Nolan nor Universal Pictures has responded to the controversy. Media reports suggest the production team was recently seen in Dakhla, a key coastal city in Western Sahara also used in Amazon’s The Wheel of Time. Critics argue that the presence of major international productions reinforces Morocco’s control, while Sahrawis remain voiceless within their own homeland.
A Canadian Lens on Global Responsibility
For Canadian viewers, the controversy reflects broader questions about ethical filmmaking, corporate responsibility, and Canada’s own commitment to international human rights. As a nation that recognizes the importance of Indigenous voices and self-determination, Canada’s film community and audiences are being urged to consider the implications of consuming content made in occupied lands.
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