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 under Lucasfilm and 20th Century Fox, the second chapter of the prequel trilogy that returned audiences to the galaxy a generation removed from Return of the Jedi. Directed by George Lucas, it pushed the saga further into digital filmmaking while carrying the weight of expectation from a fanbase eager to see the roots of the Skywalker tragedy. The film matters historically as a bridge, deepening the political unraveling of the Republic while setting in motion the romance that would shape the saga's central bloodline.
This cell preserves a moment between Padmé Amidala and Anakin Skywalker, two figures whose bond forms the emotional spine of the prequels. Padmé draws collector interest as a rare model of political conviction paired with personal vulnerability, while Anakin represents the saga's tragic center, the boy who becomes Vader. A kiss between them marks a turning point of forbidden intimacy, a quiet defiance of Jedi code that foreshadows everything to come. As a 35MM cell, it holds a single frame of that pivotal, tender exchange, a physical fragment of the saga's emotional turning point.
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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