The Cinema Pilgrims: How a Melbourne IMAX Became a Global Destination
There’s something deeply human about the lengths people will go to for an experience they believe is unparalleled. Personally, I think this is what makes the story of Vincent Simmons—a 35-year-old projectionist from Los Angeles—so captivating. He’s not flying halfway across the world for Australia’s beaches or its coffee culture. No, his destination is a cinema. Specifically, Melbourne’s IMAX. What makes this particularly fascinating is that it’s not just about watching a movie; it’s about how he’s watching it.
Simmons is one of a growing number of cinema pilgrims—people who travel thousands of kilometers to experience films in a way that’s becoming increasingly rare. Melbourne’s IMAX is one of only 41 theaters in the world capable of projecting true IMAX 70mm film, a format that director Christopher Nolan has championed for its unparalleled sensory immersion. From my perspective, this isn’t just a niche hobby; it’s a cultural phenomenon that speaks to our desire for authenticity in an increasingly digital world.
One thing that immediately stands out is the sheer scale of the Melbourne IMAX. Its screen is 32 meters wide and 23 meters tall, with an aspect ratio of 1.43:1—the largest of its kind anywhere. But what many people don’t realize is that the magic isn’t just in the size. It’s in the film itself. A single print of The Odyssey, Nolan’s latest film, stretches over 17 kilometers when laid end to end. The reels are so massive they require platters that can hold nearly three hours of runtime. If you take a step back and think about it, this is a relic of a bygone era—a format that’s as much art as it is technology.
What this really suggests is that we’re witnessing a renaissance of sorts for analog experiences. In a world where streaming services dominate and digital projection is the norm, there’s a growing appetite for something tangible, something that feels real. Kaivalya, a 28-year-old PhD student from India, is a perfect example. He’s relocating to Melbourne but pushed his flights forward just to catch The Odyssey at the IMAX. This isn’t his first cinema-driven journey; in 2014, he traveled 400 kilometers to see Interstellar on the nearest IMAX screen. His enthusiasm is infectious: “The colors feel warmer. I love watching the grain in the movie—it gives it life.”
This raises a deeper question: Why are people willing to go to such lengths for a movie? In my opinion, it’s because cinema, at its best, is a communal experience. It’s not just about the film; it’s about the ritual, the shared anticipation, the sense of being part of something bigger. Mitchell and Dimeth, two 22-year-olds from Brisbane, have made it their tradition to see Nolan’s films at the Melbourne IMAX. “It’s kind of our thing,” Mitchell says. This level of dedication transforms a movie screening into an event—something that feels almost sacred.
A detail that I find especially interesting is the scarcity of theaters capable of screening IMAX 70mm. Only 41 exist globally, and just seven are outside North America. This rarity has turned Melbourne’s IMAX into an unlikely tourist attraction. Jeremy Fee, the theater’s general manager, notes that people are flying in from Germany, Turkey, India, and beyond. “It’s changed cinema into this event,” he says. And he’s right. The theater is on track to break its own box office records, with The Odyssey already grossing over $2 million.
But here’s the thing: this isn’t sustainable. The film projection systems required for IMAX 70mm are expensive to maintain, and the skilled technicians who can operate them are few and far between. Fee calls it a “perishable skill,” one that was nearly lost before a renewed interest in the format revived it. This scarcity is part of what makes the experience so coveted, but it also raises concerns about the future. How long can these theaters survive in a world that’s rapidly moving toward digital?
If you ask me, this is where the real story lies. It’s not just about a cinema or a film format; it’s about our relationship with technology and nostalgia. We’re drawn to experiences that feel authentic, that remind us of a time when things were slower, more deliberate. But we’re also fascinated by the cutting edge—the largest screens, the highest resolution, the most immersive sound. Melbourne’s IMAX sits at this intersection, offering a glimpse into both the past and the future of cinema.
What many people don’t realize is that this isn’t just a trend; it’s a movement. Cinema pilgrims like Simmons, Kaivalya, and Mitchell aren’t just fans—they’re preservationists. By traveling across oceans to support these theaters, they’re ensuring that formats like IMAX 70mm don’t disappear entirely. It’s a labor of love, and one that speaks to the enduring power of film as an art form.
So, is it worth it? Personally, I think it is. There’s something profoundly human about chasing an experience that transcends the ordinary. Whether it’s the warmth of film grain, the scale of a massive screen, or the thrill of being part of a global community, these cinema pilgrims remind us that sometimes, the journey is just as important as the destination. And in this case, the destination is a theater in Melbourne—a place where the magic of cinema is still very much alive.
