Avatar: The Way of Water

Now, it is well known that Avatar has his critics.
However, for those who have become the secret of Avatar’s success in 2009, none of these things matter. The film has a fantastic production design, astonishingly realistic visual effects and even a completely new Klingon rival.
You do not have to see the first part to continue with the second one. They are not related to each other, but the blue people will certainly be present.
Set more than a decade after the events chronicled in the first film, AVATAR: THE WAY OF WATER tells the story of the members of the Sully family (Jake, Neytiri and their children), the trials they face, the paths they must take to protect each other, the battles they must fight to stay alive, and the tragedies they endure.
Finally back on Pandora thirteen years after the worldwide advent of the Na’vis in Earth cinemas!
However, at the time, I was not one of the spectators who remained the most ecstatic in front of the first opus, I had tasted and appreciated the undeniable visual splendor of the universe concocted by the unbeatable James Cameron, clearly above blockbuster all-comers, but the 3D format (even native) then sold as revolutionary or certain archetypes used to embark on the story of this fight of the Na’vis against the worst of Man had convinced me less. Rediscovering it later – and still very recently – in 2D had nevertheless made exploring Pandora much more pleasant for me, and even succeeded, in the company of the magnificent trailers for this sequel, in making me wait with a bit of curiosity what James Cameron could bring as an extension to this world.

And, today, only a few minutes spent in front of a large screen offering this “Way of the Water” in 3D HFR were necessary to transform this curiosity into the most total amazement in front of a grandiose visual spectacle, permanent in its inventiveness. to always enhance his limitless imagination, reaching a form of aesthetic perfection during a masterful sequence that another then allows himself to surpass with disarming ease for a new peak. The alliance of a 3D as captivating as it is immersive as possible, of this increased rate of images per second resulting in unparalleled fluidity of movement, particularly in the action phases (this requires a little time to adapt to the eye, let’s admit it), of all the technological means Cameron has today to perfect his universe of 2009 in a hallucinating way or even of his talent as a director never shrinking from the impossible takes “Avatar: The Way of Water” to heights never before reached, catapulting the current competition from so-called Hollywood behemoths to the rank of harmless insects! While the reunion in the known environments of Pandora would have already been enough in itself to leave us speechless, the discovery of their aquatic side simply makes us drop our jaws with its richness or even more sublime purity in the image of symbiosis. between its fauna and its local Na’vis, not to mention the whole range of its contrasts which marries the dramaturgy of the adventures crossed. The fascination for Pandora, the creatures that move there and their enemies manages to remain constant for 3h12, leading us into an extraordinary cinematic experience that James Cameron seems to be decidedly the only one capable of offering at the present time.

Beyond this absolutely crazy visual shock that takes away almost everything in its path (and therefore my support with it), it also remained to be seen whether “Avatar: La Voie de L’eau” was going to find the necessary material to accompany the show.
From this point of view, it fits in the vein of its predecessor, its unfolding follows a fairly similar form (the introduction to the origins of this universe here becomes the summary of the past decade, the discovery of the Na’ original vi is similar to that of their aquatic cousins, to put it mildly) and is part of a cyclic pattern of oppositions leading to a form of repetition that was somewhere desired but which, in this specific case, now finds itself a slightly more nuanced by sometimes thwarted family dynamics and de facto more fluctuating motivations among the leaders of each camp. Admittedly, what this notion of family thus highlighted by the film engenders is not one of the most novel aspects of this second “Avatar”, but they are undoubtedly what allow it to differentiate itself from its model and bring it a more intense emotional deal through its characters, whether through the oldest (the future evolution of the main enemy promises) or the new generation. Moreover, on the side of its small Na’vis, if one is a little afraid at the beginning of annoying adolescent characters (the two brothers in particular) which could handicap the feature film, their well thought out treatment over time allows to give everyone a real personality while allowing them to convey new themes specific to their eventful lives within the environmental message still inseparable from the spirit of “Avatar”. In this sense, we can only celebrate Kiri, the most formidable and endearing of these children from whom some of the most poetic passages of this “Avatar: the Way of Water” will emanate.

It is therefore with eyes truly crossed by stars of incessant beauty that we come out of this new visit to Pandora, still under the influence of this incalculable number of scenes which have put us on the ground for more than three hours. The show

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