Avatar. The way of the water *
by James Cameron
American film, 3:12
Take your inspiration! Disney’s advertising wave is in place to immerse audiences in Avatar, The Way of the Water, sequel to the biggest box office hit of all time. Highly anticipated by cinema operators, who hope to find on this occasion the small third of spectators soared during the health crisis, James Cameron’s feature film also aspires to refuel while continuing its advocacy for respect for the environment. .
Pandora, ten years later
As is customary in science fiction, the first Avatar (2009) was a tale of anticipation that commented on the shortcomings of our time. Its sequel prolongs the reflection. Ten years after the events recounted in the first part, and still on Pandora, a distant star and metaphor for our world, the well-armed human colonists returning from a bloodless Earth have decided to put down their suitcases, to the great displeasure of the natives, the Na ‘live, blue, athletic 3-meter creatures living in harmony with nature.
Jake Sully, a paraplegic former American soldier whose spirit has been permanently transferred into the blue and athletic body of his Na’vi avatar, has for his part founded a family in the Garden of Eden in the forests of Pandora. But he and his family must flee to the coast, where the cohabitation of the hero with another clan, made up of amphibian creatures, turns out to be tense… Especially since the hero is chased – for a somewhat obscure reason – by the invaders. humans, supported by the bloodthirsty soldiers of the first part who also invested the bodies of Na’vis.
Stereoscopic glasses on the nose, the viewer is then embarked on a complete universe, such as literature since Tolkien or Hollywood science fiction cinema since Star Wars love to create. A universe with its own language, its own spirituality (syncretism of the myths and religions of our world), its imaginary bestiary and its exotic and fluorescent flora – often kitsch, it must be said –, which seduces the public in search of escape to parallel worlds. James Cameron, its director, says he designed it as a very high definition image in which you can zoom in to infinity.
The film is thus coated with state-of-the-art special effects, between high frame rate, 3D relief and catch performance… The former offers a higher frame rate than conventional film, giving an illusion of hyperrealism so unsettling that it breaks the spell of film grain projected on the screen. A feeling even heightened with the depth of field induced by the relief, and with the “game capture”, which makes it possible to capture the slightest inflection of the actor’s face, covered with digital sensors on the body.
It must be admitted that the cinema experience promised by James Cameron, the one that it is impossible to find at home on your sofa, is required. The director is never better than when he is in his aquatic element. As in Abyss (1989), his most poetic film, the filmmaker takes his characters and his camera along the undulating current. The walk nevertheless ends up being long in what is similar to the visit of the show apartment of the suites to come. Three other films are already planned…
It will probably take a little more effort to write the screenplay for what strongly resembles a pacifist western (already explored by Delmer Daves in The Broken Arrow in 1950, or Kevin Costner in Dancing with the wolves in 1990), castigating imperialism, xenophobia and the destruction of fauna and flora. A lyrical ode to nature, critical of an anthropocentric and speciesist vision, which nevertheless fits in with the times and will seduce the “climate generation”.
It remains to be seen whether it will support the endless soporifico-aquatic chases of Giant Smurfs, like the filial disputes hackneyed by other intergalactic sagas. Not to mention the outcome, an ode to the cutesy family, devoid of originality.
James Cameron, filmmaker of all records
1954. Born in Kapuskasing (Canada).
1984. His second feature film, terminator, is a huge success. Its sequel, in 1991, too.
1997.titanicthen the most expensive film in the history of cinema, also became its biggest success, with 1.8 billion dollars in revenue.
2009.Avatar beat the record held by titanicwith $3 billion in revenue.
2022. output ofAvatar, The Way of the Water. Three other films are planned, for an overall budget of 1 billion dollars.
Source : BBN WORLD NEWS