The first Avatar put that idea squarely at the center of the story. What really connects the movie’s many plot threads is the tension between respecting the past and letting it go. But it crops up in many ways throughout the three-plus-hour story, and it’s underlined most heavily at the end of the film, as director James Cameron and his co-writers, Rick Jaffa and Amanda Silver, bring it directly to the foreground. It’s more abstract than most of them, and harder to see than the obvious battles fought with words and weapons. Individual characters are also torn, as they try to navigate between their immediate desires and what’s best for their families, communities, or futures.īut there’s one conflict that connects all of these threads, thematically and conceptually. So are the tensions between fathers and sons, and between different ways of life among different Na’vi clans. Those two battles are major parts of the story. There’s a major conflict at work in Avatar: The Way of Water, and it isn’t the face-off between humanity and the tall blue alien cat-people called the Na’vi, or the tension between the characters who want to commune with the planet of Pandora and the ones who want to tear it apart to exploit its resources.
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