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 directing after decades away, the second installment of the prequel trilogy released by 20th Century Fox under Lucasfilm. It expanded the saga's political and romantic threads while pushing digital filmmaking further than any studio production before it, shot almost entirely on high-definition video. The film carried the weight of introducing the Clone Wars proper and deepening the tragedy that would define Anakin Skywalker's path, making it a pivotal, if divisive, chapter in the franchise's history.
This 35MM cell preserves a frame of Padmé Amidala, the former queen turned senator whose arc anchors much of the film's emotional and political core. Portrayed by Natalie Portman, she remains one of the most sought-after figures among prequel collectors, valued for her dual identity as diplomat and romantic lead. A cell bearing only her name, without scene or dialogue context, functions as a straightforward character piece, a single surviving frame pulled from the film's physical print, offered as a tangible artifact of her presence in the story rather than any specific narrative beat.
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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