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
Attack of the Clones arrived in 2002 as George Lucas's second prequel for Twentieth Century Fox, reuniting audiences with the Star Wars saga a full two decades after the original trilogy closed. It marked a turning point for the franchise's visual language, embracing digital cinematography and effects on an unprecedented scale, and it deepened the mythology by tracing the romance that would ultimately produce Luke and Leia. For collectors of prequel-era material, this film represents the series' most technologically ambitious chapter and a bridge between old-school filmmaking and the digital future of blockbusters.
This cell centers on Padmé Amidala and Anakin Skywalker, the two figures whose relationship drives the emotional core of the film and sets the stage for the saga's tragic turn. Padmé, the former queen turned senator, and Anakin, the apprentice drawn toward darkness, are among the most sought-after pairings in prequel collecting, representing the doomed love story at the heart of Anakin's fall. A 35mm cell bearing both names preserves a physical fragment of that pivotal narrative thread, a tangible piece of the print that carried their story to audiences in theaters.
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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