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
Released by 20th Century Fox in 2002, Attack of the Clones marked George Lucas's return to directing after decades away, continuing the prequel trilogy that reintroduced Star Wars to a new generation of moviegoers. The film expanded the saga's political intrigue and galaxy spanning scope, while advancing the digital filmmaking techniques Lucas pioneered with the previous installment. As the middle chapter of the prequels, it carries the weight of transition, moving characters from idealism toward the tragedy that defines the original trilogy, and it remains a key artifact of early 2000s blockbuster production.
This cell centers on Padmé Amidala and Anakin Skywalker, the pairing that anchors the emotional core of the prequel era. Their story is one of forbidden romance set against the unraveling of the Republic, a relationship collectors prize for its narrative significance as the seed of both hope and downfall in the saga. A 35mm cell preserves a physical frame of that celluloid history, a tangible artifact from the actual film print rather than a reproduction. For collectors, pairing cells like this one hold particular value, capturing two central figures together in a single strip of film history.
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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