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 Twentieth Century Fox's flagship saga, a prequel bridging the Republic's twilight and the Empire's rise. Building on 1999's Phantom Menace, it deepened the mythology of Anakin Skywalker's turn and introduced the clone army central to the trilogy's endgame. Shot largely with early digital cinema technology, it marked a technical pivot for the franchise while still circulating widely in traditional 35MM release prints, the format collectors now prize for its tangible link to theatrical exhibition history.
This cell holds Padmé Amidala, the former queen turned senator whose political conviction and personal entanglement with Anakin drive much of the film's emotional architecture. She remains one of the saga's most sought figures for collectors, her arc bridging idealism, romance, and the seeds of tragedy that shape the entire prequel era. A 35MM cell bearing her name preserves a physical fragment of that presence, a single frame excised from the release print itself, offering owners a direct material connection to the character's screen life within this chapter of the saga.
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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