Named in the title of 3 peer-reviewed works
Examples
La Force est avec George! Star Wars : Episode II — Attack of the Clones Star Wars : Episode II — Attack of the Clones — Ciné-Bulles : Le cinéma d’auteur avant tout, 2002
Star Wars Episode II Attack of the Clones (Motion picture) — Sight & sound/Sight and sound, 2002
La Force est avec George! / Star Wars : Episode II — Attack of the Clones — Ciné-Bulles : Le cinéma d’auteur avant tout, 2002
Sources: Wikidata · OpenAlex · Library of Congress. The record of the motion picture, not an assessment of this cell.
FILM NOTES
Star Wars: Episode II – Attack of the Clones arrived in 2002 as George Lucas's return to the director's chair for the middle chapter of the prequel trilogy, released by 20th Century Fox under Lucasfilm's banner. It expanded the mythology of the Republic's fall, introduced the clone army that would become the Empire's foundation, and deepened the romance between Anakin Skywalker and Padmé Amidala. As a technical milestone, shot almost entirely on digital cameras, it marked a turning point in blockbuster filmmaking and remains a touchstone for collectors tracing the saga's evolution from practical craft to digital era.
A 35mm cell simply marked Padmé Amidala isolates the Naboo senator herself, a role originated by Natalie Portman and central to the prequel era's political and romantic threads. Padmé's dual identity as queen turned diplomat and secret wife makes her one of the most sought-after figures among Star Wars collectors, bridging the trilogy's themes of duty and love. A single-frame cell like this represents a fragment of the physical release print, a tangible artifact of the character's presence in the finished film rather than a reproduction or promotional piece.
This original motion picture film element has been examined and authenticated by Crown Grading in partnership with National Film Vault, and encapsulated for archival preservation.
Why so little survivesRelease prints were leased to theaters, not sold. When the run ended they went back to the distributor to be destroyed, and most were. What collectors hold today came from the prints that escaped that order, and no new 35mm prints of these films are being struck.
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