IIn 2009, Na’vi, a skinny ape-like Smurf from the mind of a film director, emerged James Cameron, in “Avatar: Departure for Pandora” for the first time on 3D displays. At that time, the Omatikaya clan, the spearhead of that species, expelled a band of high-tech thieves called the Resource Development Administration (RDA) who traveled from the earth and searched for rare raw materials.
A defector from the “Sky People” camp, Sam Worthington as Jake Sully, has joined the natives in the synthetic form of the Na’vi (the “avatar” of the film series’ title) and wins the heart of clan princess Neytiri, played by Zoe Saldana.
A decade and a half later, the two have a mid-size family, the eldest sons are already brave adventurers, and the eldest daughter is played thanks to motion capture technology by Sigourney Weaver (since the mid-40s, Rory Kinnear this year in Alex “Men” Garland, a bad little boy, A new law of digital cinema is emerging: the more chaotic and childish the role being chosen, the more experienced the talent playing it).
Refugee drama, family saga and neo-colonial movement saga
The first of several sequels planned for the 2009 film, Avatar: The Way of Water is a refugee drama, family saga and anti-neocolonial action saga rolled into one. The return of the evil RDA, you must prepare for the colonization of Homo sapiens, because we have made our earth uninhabitable. The main action takes place in the sea, which looks better above and below the surface of the water than the flying rocks of the first part, which Cameron stole from fictional graphic artist Roger Dean. Jack Sully has taken refuge among the islands with his family, but must return to the front lines where he last earned the nickname “Toruk Makto”, Rider Leonopteryx, one of the many monsters to come to Cameron’s global design team.
To design a new cinematic playground more expansive than the “Star Wars” or “Lord of the Rings” universe in order to entice his audience to take a deep dive, Cameron is said to have done just that during his NASA-backed documentary expedition to Earth’s sea Aliens from the Deep (2005). Cameron can do nothing about the fact that such an audience would rather fall in love with the beloved fictional animal Tulkon than save the last dugongs from extinction, which in reality currently threatens them. If a reality enthusiast would give him as much and as much money as his film language consumes, he would no doubt also shoot a huge realistic work about the vital resource of our ocean microbiome, which houses countless genetic combinations from the environment – and had biotechnologically valuable enzymes and other useful things. It was received.
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