Christopher Nolan’s ‘The Odyssey’ Faces Backlash Over Filming on Disputed Indigenous Land

Christopher Nolan’s highly anticipated film adaptation, “The Odyssey,” is facing significant controversy for its decision to film scenes in the Western Sahara, a territory widely recognized as disputed and inhabited by the Indigenous Sahrawi people. This choice has ignited a global discussion surrounding land rights and ethical filmmaking practices, casting a shadow over the production before its scheduled 2026 release.

Upon the conclusion of filming in the region last week, the Sahrawi Government swiftly expressed “deep concern and strong indignation” regarding the “Oppenheimer” director’s project, particularly its presence in Dakhla. This city is vehemently claimed by the Sahrawi Government as being under “illegal military occupation by the Kingdom of Morocco,” highlighting the contentious political landscape of the area.

The Ministry underscored its resolute “strong condemnation and unequivocal rejection” of selecting an occupied territory for a major international film production without any form of consultation. They emphasized the absence of coordination with the legitimate representative of the Sahrawi people, the Polisario Front, an entity with international recognition.

Further amplifying the outcry, the Western Sahara International Film Festival (FiSahara) issued a fervent appeal to both Christopher Nolan and Universal Pictures. The festival urged them to “stop filming in Dakhla and stand in solidarity with the Sahrawi people,” who have reportedly endured nearly five decades of military occupation and are subjected to imprisonment and torture for their peaceful pursuit of self-determination.

María Carrión, the executive director of FiSahara, articulated concerns that by filming in a territory labeled a “journalistic desert” by Reporters Without Borders, Nolan and his team, whether knowingly or unknowingly, might inadvertently be “contributing to Morocco’s repression of the Sahrawi people and to the Moroccan regime’s efforts to normalize its occupation of Western Sahara.” This perspective suggests a broader implication beyond the film’s artistic merit.

Adding to the chorus of criticism, actor Javier Bardem publicly condemned the situation, stating, “For 50 years, Morocco has occupied Western Sahara, expelling the Sahrawi people from their cities.” He pointed out Dakhla’s transformation by Moroccan occupiers into a tourist destination and now a film set, asserting this serves “the aim of erasing the Sahrawi identity of the city,” culminating in the powerful call: “#FreeSaharaNow.”

Conversely, Reda Benjelloun of the Moroccan Cinematographic Center, a public administrative film agency, defended the production, hailing “The Odyssey” as “extremely important.” He highlighted its significance as the inaugural major Hollywood venture to film in the disputed region, suggesting a different interpretation of its presence.

The Western Sahara’s status remains complex, classified as a “non-self-governing territory” by the United Nations. Approximately seventy percent of the land is under Moroccan control, with Morocco having proposed a plan for autonomy under its sovereignty. This geopolitical backdrop significantly informs the present controversy.

Notably, during his first term in 2020, then-President Donald Trump recognized Morocco’s claim to the land and endorsed its autonomy plan, adding another layer to the international implications of the territory. “The Odyssey” is slated for a July 17, 2026 release and has also filmed in Morocco, Greece, Italy, Scotland, and Iceland, with further shooting planned for Ireland and the UK.