Elliot Page is in an unusual position.

He has just come off a high-profile collaboration with Christopher Nolan in The Odyssey, a project he has described as emotionally meaningful and even cathartic. Yet despite that momentum, he says he still has not landed his next acting role.

That contrast is what makes his latest comments so interesting.

According to Entertainment Weekly, Page revealed during an appearance on the On Film… With Kevin McCarthy podcast that he is still waiting for the next opportunity after playing Sinon in The Odyssey.

“If someone wants to call me,” he joked.

He also added a lighter line about possibly receiving “pushback” for being Canadian, but beneath the humor was a very clear message: Page still wants to act.

More importantly, he believes he may now be more capable than ever of doing the strongest work of his career.

That belief comes from how differently he now experiences performance.

Page looked back at Inception, another film he made with Nolan, and remembered the project itself fondly. He said he had a great time working on it and enjoyed collaborating with Nolan.

But personally, he was not comfortable.

“I had such a great time being in that movie. I had such a great time working with [Christopher Nolan], but I was also personally really uncomfortable,” he said.

That distinction matters because Page is not criticizing the film or the director.

He is describing his own internal experience at the time.

By contrast, he remembered Juno as a role in which he was able to feel more comfortable and more “embodied.”

That word appears central to how he now understands acting.

Page explained that he no longer has to carry the same level of personal discomfort into a performance. In the past, part of the acting process involved working through something internal that he did not necessarily understand at the time.

Now, that burden feels different.

“I feel like I could maybe do some of my best work now,” he said.

It is a striking statement because it comes from someone who has already built a career around major films and television projects, including Juno, Inception, The Umbrella Academy, and now The Odyssey.

Yet Page is not framing his best work as something behind him.

He sees it as something still possible.

The reason, in his telling, is that he feels more comfortable in his own skin and no longer has to work through a second kind of performance just to reach the actual performance.

That change appears to be one reason returning to work with Nolan felt so significant.

For Page, The Odyssey was not simply another collaboration with a filmmaker he already knew.

It became a kind of emotional return.

He described the experience as “cathartic” compared with Inception.

When filming ended, Page cried.

“When I wrapped on The Odyssey, [I cried],” he said.

He called it “a full-circle moment.”

That phrase captures the emotional difference between the two Nolan collaborations.

Inception belonged to an earlier period when Page could enjoy the professional experience but still feel personally disconnected or uncomfortable.

The Odyssey offered him the chance to return to a similar kind of large-scale filmmaking environment while feeling more connected to himself.

Page explained the creative effect of that change in a particularly revealing way.

“Knowing yourself more and embodying yourself more, weirdly, lets you let go more,” he said.

That may be the central idea in his comments.

Acting often involves disappearing into a role, but Page is suggesting that being more secure in his own identity has made it easier, not harder, to surrender to the work.

That sense of freedom is why his current lack of a new role feels almost ironic.

He says he is ready.

He believes he may be in the strongest creative position of his career.

But the next project has not arrived yet.

His most recent performance came as Sinon in The Odyssey, Nolan’s adaptation of Homer’s epic.

The film follows Odysseus, played by Matt Damon, and his crew as they face danger while trying to return to Ithaca after the Trojan War.

Page’s performance drew particular attention in a scene where Sinon reunites with Odysseus in the underworld.

The road to the role was not entirely easy.

After his casting was announced, Page faced a wave of transphobic remarks.

That context makes his comments about feeling more embodied and connected even more meaningful.

The external response to his casting included hostility, yet Page’s own description of the work focuses on something much more personal: creative freedom.

He does not seem to be presenting The Odyssey as a career endpoint.

He presents it as evidence of what he may be able to do next.

That is what makes “If someone wants to call me” sound like more than a joke.

It is a direct invitation.

Page is not stepping away from acting.

He is not describing himself as uncertain about whether he wants another role.

He is saying the opposite.

He believes he has reached a place where acting may finally feel less burdened by the kind of internal discomfort that once accompanied some of his biggest performances.

And now he is waiting for Hollywood to meet him there.

The most interesting question, then, is not whether Page still wants to work.

He has already answered that.

The question is what kind of role might finally allow him to prove that the performance he considers his best has not happened yet