Caught between its ambitions to be emancipatory and Icons of the past, Star Wars : The Last Jedi bypasses the disappointment, instilling a sense of chivalry in the legacy of the force, but fails to achieve an independence and a true greatness.

It is only a matter of time. Every action, every memory, every passion, everything become. Waiting at the reflection, of the desire to the frustration, the past and the present, the hope dying to this renewal in the moment, the time is upon us like a painting on the wall of life, who decides to fall down, by common accord with the nail that would hold. A time which is leaking as much as it morcèle life : dating, disappointment, expectations. The cinema is no exception to this rule. Each film is dedicated to expect, to forget, to remember.

A bit like these years where the legends go out. The excitement throat then a deep melancholy, to be justified, and yet so ephemeral. Because their light is eternal. The one surrounding Star Wars is a flaming sword, shining in a night in which the stars eclipse : Carrie Fischer is no more, and yet, she resists on each piece of film, and in the subconscious of those who watch it. An Image, a symbol. Since despite the time that goes by, something remains : a flame of popular passion collective, that even a funeral reinforces. Star Wars, it’s a bit like the Johnny Hallyday cinema of science fiction : a cult of the past finds its echo in the hearts of enthusiasts of a new generation.But be aware of this time loss, it is also the face of the impossible return back. Because nothing will ever be as before. Myths adapt to it, so that the past freezes : the evolution is the tragedy even of the nostalgic. Remember that even the sessions overloaded from The Bamba had led to an explosion in the windows of a cinema here in dunkirk. Remember those queues of fans wearing accessories bearing the effigy of their worship, for in the end see today that a new mode of consumption : a cinema that has become too regular and predictable, where the viewer becomes an individual jaded by the simple fact of being amazed. A sense of wonder that is lost, and this in spite of the attempts to renew the necessary intensity.


Star Wars : awakening of the Force was the opus of the transition, the passage from tradition to modernity, that of a renaissance for a new generation of spectators. This moment of convergence and a transmission, where the Father joined his Son by the power of a mythology. As a desire to tear the hyperspace to give a new breath to the galaxy.

And even if this reactivation of the myth was, in all humility, Abrams is hiding the breath of nascent unifying the progeny in a (e)web master, like a child anxious to reproduce the imaginary that he has seen the birth, a safe that is aware of its responsibilities: a feeling of attachment to the inheritance even though the urge to break away was not lacking. All the glitter of the sword it was weakened by this nostalgia, but the desire of postage was there. A process symbolized by the parricide ofHan Solo, a true indicator of this thirst for renewal. Cultivate the myth in a tribute towards the emancipation.

“Believe that the past will survive beyond the renewal.”

Since all the themes from the LAST of the JEDI were already in germ in The Wake of the Force : a new learning, an initiatory journey, an odyssey inner, very manichean, the disorders of identity, these external forces playing on the fate of his characters ; to remove the helmet to reveal in all its ambiguity, and to participate in the final of these first steps towards a new hope. Because our strength is to believe in it. Believe that the past will survive beyond the renewal. Remains to turn to the future and these Jedi in the making.STAR WARS: THE LAST JEDI would and the episode of the maturity. A kind of destruction of the nostalgia for better, to renew the myth. Johnson is part of a perfect continuity in subject matter vis-à-vis what had begun Abrams : the parricide takes a magnitude more ambiguous. As a questioning of the director on its ability to burn its icons, a fight against the past to ensure the survival of its future. Blade Runner 2049 was the perfect example : an impossible return to the past in which there remains only of the bugs, mirages, and an eye opening to the future and a possible independence. The desire to establish a new order in the galaxy is also at the heart of the story of the LAST JEDI.

“A genealogy which is erased to rebuild a new”

The whole essence of this new album could be summed up as a reply key : “Let The Past Die “. Because it seems to be necessary to kill the myths that the transition is complete. The only scene of the tree in the fire is representative, just as Blade Runner 2049 was of his dead tree, an entity is protective of the bones of the loved one. Here, as the symbol of a genealogy which is erased to rebuild a new one. Cut the ties, the roots, to never.

BLADE RUNNER 2049 – Critical

All the work of Johnson is, therefore, built on this transformation. The icons that are Leia or Luke are only a base to base the renewal, this generation is epitomized by Finn and Rey (Daisy Ridley and John Boyega, two unknown actors before The Awakening of the Force, symbolizing the desire of modernism). In addition, the tone more somber and fatalistic allows its characters to shine in the darkness and the light of the force, as this elevation of the character of Luke (beautifully played by Mark Hamill) remorse the dark until the inner peace as the epilogue. A work permanently forward-which means hope, a hope of youth.

A work also carried by a non-absence, by the melancholy of the disappearance of a princess, a star : each of his appearances is a character of emotionally strong enough. As a kind of hologram memory, or the evaporation of a Jedi touched by the wisdom under a setting sun. Because tomorrow is another day. The transition would be total but it embodies, unfortunately, a flutter, an interlude, reinforcing the intentions of the preceding component. Remains to permanently switch to the dark side of modernity.However, telescoping the sense of wonder in the plains of a dreamlike potential for renewal, Johnson is above all a creator of his own daring : the scale of its staging, always in movement, evidence of its desire to impose its paw. It’s all there in the draft, the epic and the virtuosity : the image of this travelling very Murnau to mark the entrance in the Casino ; to try to differentiate itself by the illusion of proximity where the field/ counter-field vector of a force inter-spaces of thoughts ; or the apotheosis in red and white, as if to reinforce the conflict and dichotomy between the salt and the blood, peace and war, good and Evil. While mixing up the style brought in by Abrams : these plans of a great fluidity of the camera related to the authenticity (and sometimes a certain classicism), emerges from the implementation of a power nice to default to the grandeur of operatic once approached.

“Telescoping the wonder in the plains of a dreamlike potential for renewal…”

And even if the formatting Disney is felt at many times, the creatures that inhabit the story are worth a look, and, in particular, these Porgs also funny that endearing (#AdopteTonPorg). The humour, meanwhile, serves up the pace as much as it serves the emotion. While the size of the set is no longer in question, STAR WARS 8 gives the sensation of a scatter, which is symbolized by a first party to the obvious lengths and a narrative structure quite unsettling based on these multiple frames in parallel, and changes of point of view. But the real frustration of STAR WARS 8 lies in its lack of progression. The feeling of being caught up in the plot. As passed by such a company, all seems to be looking for that light to never find it. Just bits and pieces lost in a galaxy as distant as non-memorable.

STAR WARS: THE LAST JEDI is, however, an invitation to venture beyond its mythology. Surprising to imagine this object, misshapen but incredibly innovative, a work of contemplative, metaphysical, and political down to its opposite while casually. But when you think about it, Star Warsis a bit of that. A director willing to adapt his style to fit that of an entity in constant development, a work preaching to the entertainment as a vehicle of thought. Rooted in the collective unconscious, Star Wars is a bit of all of us. And this last part bypasses the disappointment by inspiring a sense almost chivalrous in the legacy of the force, supported by achievement concerned about the graphics and the scale of the frames.

“Stir up this flame, which will continue forever shine in our hearts…”

While the star Wars 7 helped to resurrect the icons to begin their disappearance, STAR WARS 8 focuses his reflection on the inner conflicts of the characters, at the risk of getting lost in the middle of its plot. Kylo Ren reveals so much more deep and torn. The Padawan to the Jedi, sees himself, an inner strength. A force still under-exploited. As an emotion to be reborn, where it remains as ash, attempts nevertheless fascinating fun of relics, for in the end not to reveal anything. Just keep those same chills listening to a Theme that scrolls through a galaxy of memories. All this in the end to fan this flame, which will continue forever shine in our hearts. Because Nobody really vanishes. Not even myths, not even the legends.


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Original title : Star Wars: Episode VIII – The Last Jedi

Achievement : Rian Johnson

Screenplay : Rian Johnson

Main actors : Daisy Ridley, John Boyega, Oscar Isaac, Adam Driver, Mark Hamill, Carrie Fisher, Andy Serkis, Domhnall Gleeson, Lupita’nyong’o, Benicio del Toro, Laura Dern

Release Date : 13 December 2017

Duration : 2h30min

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