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a successful big show but for the revolution, we will go back

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The continuation of all superlatives: state-of-the-art technology (catch performance and digital imaging), production time (more than five years), budget (we are talking about 400 million dollars). Jake Sully, the ex-marine who fell in love with the brain planet Pandora, and with the beautiful native Neytiri, is no more. At least he made his final transition into a Na’vi creature until he founded a family with his sweetheart. What his ex-superior, the warmonger Miles Quaritch, did not digest. Threatened by the avatars of Quaritch (dead in the first episode) and his commando who seek to eliminate him, Sully and his family find refuge with a tribe living in harmony with the oceans.

The first hour, messy, rushes to make us swallow its narrative shortcuts (yes, Quaritch created an avatar in anticipation of his death) and its poetic licenses (how could a Na’vi and an avatar give birth? ). The second, the most inspired (between “Moby Dick” and “Pinocchio”), turns into an initiatory story by adopting the view of the youngest son of Sully and Neytiri faced with his marvelous discovery of the marine biosphere. The third, where Cameron’s epic breath overcomes the simplicity of the stakes, compiles motifs from all his previous films in a deluge of action: the warrior exoskeletons of “Aliens”, the exploration platform of “Abyss »the twilight battles of “Terminator 2”, the sinking of “Titanic”, etc In the end, the spectacle and the photo-realism are there; for the revolution, we will go back.

The sequel after the ad

James Cameron, the Jules Verne of the blockbuster

One of the originalities of the first part consisted in inventing a planet whose terrestrial ecosystem resembled the underwater fauna and flora and in staging two levels of reality, that of humans and that of Na’vi avatars, between which Sully was torn. Here, everything is brought back to the unique Na’vi point of view and the rather basic duel between the good savages (aliens) and the bad colonizers (humans), resurgence of progressive westerns like “The Broken Arrow” and “Dance with wolves. And, is it the effect of 48 frames per second – praised as an asset for the immersion of the viewer – or a malfunction of 3D glasses, the atrocious sensation of watching HD TV in “interpolation mode” recurred? ‘pictures’. Which does not help to appreciate the smurf blue aesthetic with kitsch leanings.

From “Terminator” to “Avatar”: James Cameron, the man who counts only billions

Let’s be clear: this family fable, an ode to the protection of nature, to the reception of refugees and to interbreeding (even to transhumanism), is much better than the soulless “marvelleries”. What is successful there is even more so than in the original. But how not to regret that a filmmaker of Cameron’s caliber, the Jules Verne of the blockbuster, ends his career ruminating on the same story rather than inventing new ones. Let’s hope that the planet Pandora will take on a crazier dimension in the other sequels (two have already been shot).

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Avatar, the way of water. American science fiction film, by James Cameron, with Sam Worthington, Zoe Saldana, Kate Winslet, Sigourney Weaver (3h12).

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