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 returned to the director's chair for the second installment of his prequel trilogy, released by 20th Century Fox under Lucasfilm's banner. Bridging the political intrigue of The Phantom Menace with the galaxy-wide war to come, the film deepened the saga's mythology, introduced the clone army central to the Republic's fall, and advanced the doomed romance that would shape Anakin Skywalker's turn to darkness. It marked a technical leap as well, shot entirely on digital cameras, a first for a major studio production.
This 35mm cell preserves a single frame of Padmé Amidala, the former queen turned senator whose political conviction and personal entanglements anchor much of the saga's emotional weight. Collectors seek her out as one of the prequel era's defining figures, a character whose arc carries both romance and tragedy across three films. A cell bearing her name alone, without further qualifier, represents a straightforward frame of the character herself, a piece of the film's celluloid history connected directly to her presence on screen during this pivotal chapter of the Skywalker 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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