a grandiose visual spectacle that struggles to reinvent the saga

REVIEW – With this third installment of the saga, James Cameron once again pushes the limits of technology and immersion on the big screen. But behind the stunning volcanic landscapes and spectacular battle sequences lies a plot that, despite its ambitions, lacks imagination.

Three years later The Way of WaterJames Cameron continues the expansion of his universe with Avatar: Of Fire and Ash. Among the most anticipated releases of the year, this third chapter of 3h17, in theaters this Wednesday, December 17, shifts the saga into a darker tone: exit the aquatic paradise of the Metkayina, make way for the volcanic territories of the People of the Ashes, a warrior tribe who comes to darken the mythology of the saga.

Visual fresco of still dazzling inventiveness, Avatar: Of Fire and Ash impresses with the richness of its landscapes and creatures, offering breathtaking images in every sequence.

The story of this third part, the most violent and ambitious of the trilogy, also gains in moral depth and emotion while posing new challenges for the saga: a more intense conflict and a deeper exploration of family ties and tensions between the clans of Pandora.

Mourning and faith at the heart of the story

From its first scene — a dreamlike flight between Lo’ak and Neteyam, quickly revealed to be nothing more than a simple vision — the film places mourning at the heart of its story. The disappearance of Neteyam, eldest of the siblings, killed by bullets in the previous part The Way of Watercontinues to haunt each member of the Sully family.

To cope with this loss, Jake, still torn between his past as a Marine and his new family life on Pandora, retreats into a resolutely militaristic posture. Convinced that only armed preparation can protect his people from the GDR, whose threat still looms with the return of Miles Quaritch, he hardens his authority, gradually isolating himself from the community of Metkayina – another Na’vi people, more green than blue – and their more pacifist and diplomatic traditions.

Through the theme of mourning, Avatar: Of Fire and Ash also explores the internal fractures in the Sully family, questioning faith as an engine of resilience. Where Jake prioritizes control and military strategy, Neytiri seeks refuge in ritual and spiritual connection to Eywa, deity of the Na’vi. Two responses to grief that widen the gap within the couple.

Consumed by the guilt of not having been able to save his brother Neteyam, Lo’ak clashes with his father, desperately seeking his recognition while Spider, a human raised by the Sullys, struggles to find his place on Pandora, torn between two worlds and rejected by Neytiri who does not forgive him for his origins.

This third part also places greater emphasis on the spiritual quest of Kiri, whose connection to Eywa proves increasingly powerful and inexplicable, hinting at a destiny that could well redefine the future of Pandora.

New people and darkening mythology

The great novelty of this third opus lies in the introduction of the People of Ashes, a warrior Na’vi tribe settled in the volcanic lands of Pandora. Led by Varang, played by Oona Chaplin – granddaughter of Charlie Chaplin – who is both fascinating and disturbing, this community radically breaks with the peaceful clans encountered so far.

With Avatar: Of Fire and AshCameron thus signs a decidedly darker film, multiplying the brutal and spectacular combat scenes. The clashes increase in physical violence, bullets fly, bodies break and blood flows, a brutality that contrasts with the aquatic poetry of The Way of Water.

Above all, the presence of the People of Ashes cracks the idealized image of Pandora. For the first time, Manichaeism crumbles (finally) and the Na’vi also appear as predators and conquerors, hostile towards their fellow men.

A welcome nuance which complicates the mythology: Pandora is no longer just an Eden threatened by humans, but a world where relationships of domination and internal violence are now part of the equation.

A transitional chapter?

In this third part, James Cameron delivers, as usual, a technical demonstration that is difficult to match. Categorically opposed to the use of generative AI – a rare bias in Hollywood – the director once again pushes the limits of performance in motion capture and 3D.

With a budget of around $250 million, Cameron multiplies the sublime scenes – wooden ships towed by giant flying creatures, coral atolls bathed in light, incandescent volcanic landscapes – offering spectators total immersion for 3 hours 17 minutes.

But, past the technical wonder, Avatar: Of Fire and Ash however, shows some limitations. The scenario, presented as a sequel to The Way of Waterstruggles to renew itself and recycles certain mechanics seen in previous parts: capture of the Sullys, race against time to save them, spectacular final battle, intrigue linked to the Tulkuns and the amrita, confrontation with Quaritch…

If Cameron seems (and we hope) to prepare the ground for a major turning point in the fourth part of the saga, this third chapter pays the price: it thus gives the impression of a long transition episode, grandiose certainly, but predictable.

There remains a blockbuster whose visual experience – which more than compensates for the repetitions of the scenario – will satisfy Pandora fans. However, those who were hoping for a more daring narrative turn will have to wait until the fourth opus, expected in 2029.