Avatar: O Caminho da Água

What is the recipe for the success of Cameron’s films? As in the case of Pixar’s top projects and all of Hayao Miyazaki’s movies, there is no secret to it; on the contrary, it is banally uncomplicated, though not simple or obvious. Cameron creates fantasy worlds with the ambition to maximise the viewers’ immersion in them and he achieves this by being absolutely demanding and making no comprises. Cameron’s essential asset as a master director is his complete understanding of the technological possibilities of the medium and his ability to push those possibilities in a visionary way. But what receives little emphasis is the fact that Cameron subordinates to this immersion not only the demands of executing the special effects, but primarily his formalistic signature. He doesn’t create money shots, fool around with the camerawork or editing, show off with flashy long shots or otherwise let the film exhibit itself to the audience. When he goes for a slow-motion shot, he does so in the interest of working with the dynamics and build-up of the whole sequence, not with the aim of making a cool picture. That doesn’t mean that he doesn’t set challenges for himself. His films contain a lot of difficult shots and each of his projects is actually a major campaign with the objective of conquering new territory for cinema as a medium of illusion. But, again, all efforts remain subordinate to the audience’s immersion in the given world he has created. This maxim also guarantees that the narrative isn’t cluttered with anything that would break the fourth wall, whether references nodding at fans or characters and artefacts that serve only as intrusive advertisements for associated merch. Unlike Star Wars and the Marvel movies, Cameron’s films don’t offer corporate-calculated webs of stories that would lend themselves to fandom fetishisation. Instead, Cameron simply creates fictional worlds that entice viewers with their fantastical nature and the promise of their settings and characters. Cameron himself says that his screenwriting process comes from two directions. On the one hand, there are the characters and their relationships. On the other hand, there are the specific scenes and settings that Cameron would like to see. Writing the screenplay then involves coming up with motivations and peripeteias that connect these two pillars causally and logically. Then, of course, there is Cameron’s own imagination, which shapes the particular worlds. And that’s all; there is nothing else behind his success (well, except for effective PR, which in turn relies on the potential that Cameron creates). It then invites further reflection on what it says about the state of blockbusters and Hollywood as a whole when the above is not the norm but a celebrated anomaly. ______  In light of the above, the only weakness of Cameron’s films is his screenplays. Or perhaps it’s only the perspective of viewers who aren’t completely captivated by them. Compared to the first Avatar, the narrative shifts in the sequel may not sit well with some viewers. Conversely,  some will be irritated by the excessive similarity between the two films and the repetition of motifs. Still others will have an issue with the apparent lapses in logic (even if they are transgressions against the opinions of the respective viewers and not against the rules of fiction). Other people won’t be able to get past the wall of their own cynicism and accept the new-age environmental ethos, naïve mythmaking, post-colonial romanticism or Cameron’s characteristic melodrama. Personally, I was saddened mainly by the evoked impression that I had already seen several times. For one thing, Cameron again builds on the first film’s love story with the story of a family on the run and a coming-of-age motif, just as he did with Terminator 2. The story of parental love that turns into anxious criticalness and the necessity of giving adolescents their freedom regardless of what mistakes they make as a result because they can grow only by making those mistakes fortunately remains universal and fundamental enough not to seem derivative. Furthermore, its likable in that it irritates the parents in the audience and appeals greatly to younger viewers. Apart from that, however, memories of key sequences in Titanic and The Abyss inevitably creep into one’s mind at particular moments in the film. On the other hand, the idea that Cameron is merely ripping himself off can be quickly dispelled by recalling the work of George Miller, who also works with variations on certain motifs in the Mad Max films. Cameron also uses similar situations simply because he likes them, knows their dramatic potential and enjoys recreating them. ______ After all, personal passion and imprinting one’s signature on a film are essential attributes of a director’s work. Cameron most clearly projects into his films his often mentioned fascination with strong women and warrior mothers, as well as his fascination with the undersea world. With respect to the latter, the second Avatar is perhaps his most inward-looking project since The Abyss. In multiple storylines, he expresses the desire to merge with that alien world which is so close, actually within reach, but the limits of the human body constantly make its strangeness and unattainability felt. (14/01/2023) (menos) (mais)