Features
Avatar: The Way of Water – Pure cinematic sorcery by James Cameron
By Tharishi Hewavithanagamage
Thirteen years and billions of dollars later, director James Cameron has brought the much-anticipated sequel, ‘Avatar: The Way of Water’ to life! Despite fears of failing at the box office, audiences have agreed that Cameron’s latest work exceeds expectations and pushes boundaries beyond the horizon. Although a sequel was already brewing when ‘Avatar’ was released in 2009 (nearly a decade ago), it was Avatar’s initial success that allowed Cameron to finally fulfill his promise to the fans. Based on ‘Avatar: The Way of Water’, it is apparent that James Cameron has been very busy pushing the very boundaries of cinema with his distinct magic. The film may be punishingly long but compensates with the stunning visual imagery, epic cinematography and mesmerizing world-building. Cameron’s work is a testament to how movies ought to be made in the age of commercial film franchises that often fail to meet the mark.
Jake Sully, who has fully embraced the Na’vi lifestyle. Over the years Sully and his wife Neytiri welcomed four half-Na’vi, half-Avatar children — Neteyam, Lo’ak, Kiri (adopted) and Tuk— and also foster Spider, the biological son of Colonel Miles Quaritch left behind on Pandora. Happiness only lasts for so long when the ‘sky people’ (humans) return to Pandora. Colonel Miles (who was killed previously) returns with an advanced military entourage, this time having transitioned to a Na’vi form, but infused with the late colonel’s memories. He arrives to seek vengeance on Jake for betraying him and soon begins hunting the Sully clan. With targets on their back, Jake and his family are forced to flee and seek shelter with the Metkayina, a water tribe.
The new environment that audiences are introduced to becomes the bedrock of the story. Cameron focuses on exploring the Metkayina tribe are decidedly different from the Na’vi living in the forests of Pandora. The differences among the Pandora’s inhabitants— both in a physical and cultural sense— provide new dimensions to the anthropology of the alien planet. In contrast to the land-based Na’vi the Metkayina have amphibian features and greenish bodies, simply put a physiology suited to living on islands surrounded by water and marine animals. The film goes to great lengths to enhance these details with stunning visual effects and CGI through the second half of the story. The film does not hold back in the visual effects department which is the key to bringing Cameron’s vision to life. Returning to the ocean since ‘Titanic’, James Cameron takes a deep dive into the vast ocean and delivers mesmerising and bold sequences of visuals from start to finish. Cameron was inspired by his love for ocean exploration and the need to bring the magic and mystery of an underwater experience to the big screen. The detailed work is inspired by the oceans on Earth and the communities of beings that live in the deep. Sigourney Weaver, who was significantly de-aged to play a 14 year old, is also proof of the technological advancements today and the hard work put in by the professionals.
Plunging further into the unknown, Cameron worked with Australian cinematographer Pawel Achtel to develop a rig to shoot 3D scenes underwater. The outcome is seen in the crystal clear and hyper realistic visuals that are at times difficult to fathom but completely hypnotising. The movie also pushed the boundaries of the cast, who had to train in free diving methods. Kate Winslet remained underwater for more than seven minutes, accidentally breaking the record held by Tom Cruise.
The movie starts off strong and wastes no time cutting to the chase. However, the plot is spread thin and the story slows down towards the middle. The action picks up in the latter half and is packed with heavy gunfire, crazy stunts and even crazier futuristic tech. In comparison to the first movie, ‘The Way of Water’ promises more emotion from the cast. The young characters played by Jamie Flatters, Britain Dalton, Trinity Jo-Li Bliss, Jack Champion and Bailey Bass are a breath of fresh air. Although technically not a young or new cast member, Sigourney Weaver also adds a great amount of emotion and mystery into playing Kiri. The newly introduced actors Kate Winslet and Cliff Curtis shine as Metkayina leaders Ronal and Tonowari, leading the clan and their family with ferocity and extreme loyalty. Lastly, despite the lengthy runtime characters like Sam Worthington, Zoe Saldaña and Stephen Lang are significantly given very less to do in comparison to the first movie.
The film mainly focuses on the theme of family, portraying more than one family at a time to give audiences different perspectives. The Sully family, Ronal and Tonowari’s family, the Tulkun (an intelligent species of whale native to Pandora) family and even the bond between Spider and Colonel Miles, all depict different aspects of what it is to be part of a family. It also shows how much people change when their family is under threat and the lengths they would go to in order to protect their own. But the film is more than just about the idea of family. ‘Avatar: The Way of Water’ is almost like a nature documentary carrying heavy political themes. ‘Way of Water’ reiterates colonialist ideals much like in the first film. Colonial superiority coupled with greed driven by capitalism, amorality and exploitation of resources is a running theme in the films. With the Earth inhospitable, the humans have resorted to colonising, pillaging and even murdering the thriving alien communities, which are strikingly similar to real world situations. Director James Cameron is not afraid to advance a strong political agenda and share his cynicism of the nature of mankind. Cameron offers audiences the Na’vi lifestyle— the balance between the physical and spiritual realms and the sense of togetherness— as an alternative way of life that can possibly benefit mankind in the long run, should they choose to change.
Director Cameron’s film also explores the themes of xenophobia, assimilation, identity and cultural tolerance. It explores these themes through the Sully family when they are forced to uproot their lives amidst the threat from Colonel Miles and the military personnel. Although the Metkayina leaders Tonowari and Ronal welcome them it is not without suspicion and trepidation. The Sully clan are forced to assimilate to the ways of the water tribe if they wish to survive and receive shelter. They approach the challenge with open minds, but given the physiological differences between the two tribes it is easier said than done to assimilate. From the perspective of the children, who are part Na’vi and part human, it is much harder. They are occasionally bullied by youngsters of the Metkayina tribe and are called ‘freaks’. The change especially puts pressure on Lo’ak and Kiri who are confused about their place among the Na’vi community and go overlooked by their own parents. This storyline reminds audiences of the many individuals and families that migrate and are forced to assimilate in order to create a sense of belonging in a place that is completely alien to them.
Going further, Cameron boldly addresses the environmental harm inflicted on wildlife and ecosystems. The industrial destruction and ecological terrorism inflicted on the lush ecosystems of Pandora are a reminder to audiences of the very real world situations that require more attention from individuals. The graphic and brutal hunt for the Tulkun simply to extract a liquid called ‘amrita’ (that supposedly stops ageing in humans) causes shock and fury, but is also a reminder from Cameron of the reality of things. Tear-jerking as the scenes may be, Cameron wants to spread awareness and he earns praise for successfully tapping into the capacity for moral outrage and for leaving a long-lasting emotional imprint in the minds of the audiences. Beyond the fantastic and immersive details in Cameron’s visual imagery lies a bourgeoning truth.
‘Avatar: The Way of Water’ is a true work of art from James Cameron that explores beyond the horizon and confidently plunges into the depths of the unknown to give audiences an engaging, enjoyable and all-round beautiful film. Although lacking in a strong plot and too many storylines, it captivates the mind and feeds the audiences with lush world-building and immaculate CGI to convey both beauty and darkness of the world. James Cameron has raised the stakes for the characters and for himself to create even greater, mind-bending sequels that are already in the works.
Features
Viktor Orban, Benjamin Netanyahu and Donald Trump: The Terrible Threes of the 21st Century
In the autumn of 1956, Hungary staged the first uprising against the 20th century Soviet behemoth. Seventy years later, in the spring of 2026 Hungary has delivered the first electoral thrashing against 21st century right wing populism in Europe. The 1956 uprising was crushed after seven days. But the opposition scored a landslide victory in Hungary’s parliamentary election held on Sunday, April 12 and. Viktor Orban, Prime Minister since 2010 and the architect of what he proudly called “the illiberal state”, was resoundingly defeated. Orban who has been a pain in the neck for the European Union was a close ally of US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu.
Trump even dispatched his Vice President JD Vance to Budapest to campaign for Orban. After Orban’s defeat, Trump and his MAGA followers may be having nightmares about the US midterm elections in November. Similarly, Orban’s defeat has reportedly caused “great concern in the halls of power in Jerusalem.” Netanyahu has lost his only ally in the European Union and the opposition victory in Hungary does not augur well for his own electoral prospects in the Israeli elections due in October.
Ceasefire Hopes
Trump and Netanyahu have bigger things to worry about in the Middle East and among their own political bases. Trump is going bonkers, blasphemously imitating Christ and badmouthing the Pope, launching a blockade in the Strait of Hormuz and strong arming more talks in Islamabad. Netanyahu has been forced to sit on his hands, pausing his fight against Iran while pursuing peace talks with Lebanon. The leaders and diplomats from Pakistan, Egypt and Turkey are shuttling around drumming up support for another round of talks in Islamabad and a prolonged extension of the ceasefire.
Further talks in Islamabad and potential extension of the ceasefire received a new boost by Trump’s announcement of a new 10-day ceasefire between Israel and Lebanon. The background to this development appears to be Iran’s insistence on having this secondary ceasefire, and Trump insisting on ceasefire abidance by Hezbollah in return for his ordering Netanyahu to stop his brutal ‘lawn mowing’ in Lebanon. All of this might seem to augur well for a potential extension of the primary ceasefire between the US and Iran. There are also reports of the narrowing of gap between the two parties – involving a potential moratorium on Iran’s uranium enrichment, the opening of the Strait of Hormuz, and Iran’s access to its frozen assets estimated to be $100 billion.
Meanwhile the IMF has released its latest World Economic Outlook with a grim forecast. “Once again, says the report, “the global economy is threatened with being thrown off the course – this time by the outbreak of war in the Middle East.” Before the war, the IMF was expected to upgrade its growth forecasts for the global economy. Now it is going to be weaker growth and higher inflation with oil price optimistically stabilizing around $100 a barrel in 2026 and $75 a barrel in 2027. In a worst case scenario, if the oil prices were to hit $110 in 2026 and $125 in 2027, growth everywhere will further weaken and inflation will go further up in countries big and small.
In a joint statement on the Middle East, the Finance Ministers of the United Kingdom, Australia, Japan, Sweden, Netherlands, Finland, Spain, Norway, Republic of Ireland, Poland and New Zealand have called on the IMF and World Bank “to provide a coordinated emergency support offer for countries in need, tailored to country circumstances and drawing on the full range and flexibility of their tool kits.” They have also welcomed “advice on domestic responses that are temporary, targeted, and effective, and encourage work to identify steps needed to protect long-term growth.”
Subversion from the Right
The two men, Trump and Netanyahu, who started the war and precipitated the current crisis are not being held accountable by anyone and they are still free to do what they want and as they please. The third man, Victor Orban, who did not have anything to do with the war but extended wholehearted ideological and political support as a faithful apprentice to the two older sorcerers, has been democratically defeated. Together, they formed the terrible threes of the 21st century, spearheading a subversion from the right of the emerging liberal status quo of the post Cold War world. Orban’s defeat is a significant setback to the illiberal right, but it is not the end of it.
The three emerged in the specific historical contexts of their own polities that are both vastly different and yet share powerful ingredients that have proved to be politically potent. The broader context has been the end of the Cold War and the removal of the perceived external threat which opened up the domestic political space in the US, for locking horns over primarily cultural standpoints and climate politics. This era began with the Clinton presidency in 1992 and the election of Barack Obama 16 years later, in 2008, created the illusion of a post-racial America.
In reality, the right was able to push back – first with the younger Bush presidency (2000-2008) pursuing compassionate conservatism, and later with the foray of Trump (2016-2020) threatening to end what he called the “American Carnage.” Of the 32 years since the election of Bill Clinton, Democrats have controlled the White House for 20 years over five presidential terms (Clinton – two, Obama – two, and Biden -one), while the Republicans won three terms (Bush – two, Trump – one) spanning 12 years.
Trump has since won a second term for another four years, but already in his five+ years in office he has issued executive orders to roll back almost all of the liberal advancements in the realms of civil rights, equality, diversity and inclusion. All that the celebrated acronym DEI (Diversity, Equality and Inclusion) stands for has been executively ordered to be banished from the state, its agencies and its programs.
In Europe, the European Union became the champion and bulwark of liberalism and subsidiarity, which in turn provoked the rise of right wing populism in every member country. Brexit was the loudest manifestation against what was considered to be EU’s overreach, but after Britain’s bitter Brexit experience the populists in the European countries gave up on demanding their own exit and limited themselves to fighting the EU from their national bases.
Viktor Orban became the face and voice of anti-EU nationalists. But he and his political party, the Christian Nationalist Fidesz – Hungarian Civic Alliance, are not the only one. Nigel Farage’s Reform UK in Britain and Marine Le Pen’s National Rally Party in France are becoming real electoral contenders, while right wing presidents have been elected in Argentina and Chile.
The rise and fall of Viktor Orban
Of the three terribles, Orban is the youngest but with the longest involvement in politics. Born in 1963, Viktor Orban became a political activist as a 15-year old high schooler, becoming secretary of a Young Communist League local. He continued his activism while studying law in Budapest, visiting Poland and writing his thesis on the Polish Solidarity movement, giving lectures in West Germany and the US as a potential future Hungarian leader, and undertaking research on European civil society at Pembroke College, Oxford.
At the age of 26, Orban gained national prominence with a speech he delivered on June 16, 1989 in Budapest’s Heroes’ Square to mark the reburial of Imre Nagy and other Hungarians killed in the 1956 uprising. Imre Nagy was the leader of the 1956 Hungarian uprising against the puppet Soviet Union outpost in Budapest.
To digress and make a local connection – the pages of Sri Lanka’s parliamentary Hansard of 1956, contain an impressive record of the political debate in Sri Lanka over the events in Hungary. The LSSP’s Colvin R de Silva eloquently led the Trotskyite prosecution of the Soviet invasion of Hungary and the suppression of its freedoms. Pieter Keuneman of the Communist Party used his wit and debating skills to defend the indefensible. GG Ponnambalam, the unrepentant anti-communist, used the opportunity to take swipes on both sides. Finally, for the government, Prime Minister SWRD Bandaranaike deployed his own oratorical skills to empathize with the uprising without condemning the USSR. The four men were Sri Lanka’s foremost verbal gladiators and they used the occasion to put on quite a display of their talents.
Back to Hungary, where Orban began his political vocation identifying himself with Imre Nagy and demanding the withdrawal of the Soviet army from Hungary and calling for free elections in that country to elect a new government. That same year in 1989, Fidesz was recognized as a political party; Orban became its leader four years later in 1993 and led the party and its allies to their first victory and formed a new government in 1998. At age 35 Orban became the second youngest Prime Minister in Hungary’s history.
During his first term, Orban started well on the economy, reducing inflation and the budget deficit, was welcomed to the White House by President George W. Bush, and led Hungary to join NATO overruling Russian objections. But the slide into authoritarianism and corruption was just as quick, including the attempt to replace the two-thirds parliamentary majority requirement by a simple majority. By the end of the term the ruling coalition disintegrated and Orban lost the 2002 election and became the leader of the opposition over the next two terms till 2010.
Orban returned to power with a two-thirds majority in 2010 and immediately introduced a new constitution that set the stage for ushering in the illiberal state. What had been previously a communist state now became a Christian state where ‘traditional values’ of gender rights, sexuality, and exclusive nationalism were constitutionally enshrined. The electoral system was changed reducing the number parliamentarians from 386 to 199 – with 103 of them directly elected and 93 assigned proportionately. Orban went on to win three more elections over 16 years – in 2014, 2018 and 2022 – each with a two-thirds majority, and used the time and power to transform Hungary into a conservative fortress in Europe.
The new constitution and its frequent amendments were used to centralize legislative and executive power, curb civil liberties, restrict freedom of speech and the media, and to weaken the constitutional court and judiciary. It was his opposition to non-white immigration that made him “the talisman of Europe’s mainstream right”. He described immigration as the West’s answer to its declining population and flatly rejected it as a solution for Hungary. Instead, he told his compatriots, “we need Hungarian children.” His ‘Orbanomics’ policies restricted abortion and encouraged family formation – forgiving student debt for female students having or adopting children, life-long tax holiday for women with four or more children, and sponsoring fixed-rate mortgages for married couples.
Orban wanted to make Hungary an “ideological center for … an international conservative movement”. Orban heaped praise on Jair Bolsonaro for making Brazil the best example of a “modern Christian democracy.” He endorsed Trump in every one of Trump’s three presidential elections, the only European leader to do so. In return, Orban has been described by US MAGA ideologue Steve Bannon as “Trump before Trump.” Orban’s attack on universities for being the citadels of liberalism have found their echoes in Trump’s America and Modi’s India.
For all his efforts in making Hungary a conservative ideological centre, Viktor Orban’s undoing came about because of Hungary’s growing economic crises and the depth of corruption and systemic nepotism that engulfed the government. The economy has tanked over the last three years with rising prices and the national debt reaching 75% of the GDP – the highest among East European countries. Orban’s critics have exposed and the people have experienced systemic corruption that enabled the siphoning of public wealth into private accounts, the creation of a ‘neo-feudal capitalist class’, and the enrichment of family and friends. Orban’s corruption became the central plank of the opposition platform that Peter Magyar and his Tisza Party presented to the voters and caused his ouster after 16 years.
The Prime Minister elect is not a dyed in the wool liberal, but a member of a conservative Budapest family, and a politician cut from the old Orban cloth. Magyar (literally meaning “Hungarian”) was once a “powerful insider” in the Fidesz government – notably active in foreign affairs, while his ex-wife was once the Minister of Justice in Orban’s cabinet. Mr. Magyar may not fully roll back all of Orban’s illiberalism, but he has committed himself to eliminating corruption, increasing social welfare spending, limiting the prime ministerial tenure to two terms, and being more pro-European, EU and NATO.
EU and European leaders have openly welcomed the change in Hungary, and may be looking for the new government to change Orban’s vetoing of a number of EU initiatives, especially those involving assistance to Ukraine. In return, the new government in Hungary will be expecting the unfreezing of as much as $33 billion funds that the EU extraordinarily chose to freeze as punishment for Orban’s illiberal initiatives in Hungary. For Trump and Netanyahu, the defeat of Viktor Orban removes their only ally and supporter in all of Europe.
by Rajan Philips
Features
ICONS:A Dialogue Across Centuries
Sky Gallery of the Fareed Uduman Art Forum is dedicated to bringing audiences, cultures, and time periods together through meaningful and accessible art experiences to create the closest possible encounters with the world’s greatest paintings. Previous exhibitions include, Gustav Klimt, Frida Kahlo, Paul Gauguin, Vincent Van Gogh, Salvador Dali.
ICONS is conceived as “a dialogue across centuries” bringing together over a dozen artistic geniuses whose works span the Renaissance to the modern era. These works at their original scales of creation changes the conversation. You can finally stand in front of a life-size Vermeer or a monumental Monet and feel the dialogue between artists who never met but shaped each other across time. Each exhibit is meticulously presented on canvas, hand-framed, and finished at the exact dimensions of the original masterpieces, preserving the integrity of composition, texture, brushwork, color and scale.
At the heart of the exhibition is Jan van Eyck’s ‘Arnolfini Portrait’, a work that epitomizes the detail, symbolism, and human intimacy that have inspired generations of artists. Alongside it, visitors will encounter paintings that shaped the renaissance, impressionism, modernism, and the evolution of visual storytelling by Munch, Matisse, Monet, Degas, Da Vinci, Renoir, Vermeer, Rembrandt, Cézanne, Caravaggio, and more. The exhibition invites audiences to experience a rare conversation across centuries of artistic brilliance.
By bringing together works that are geographically and historically dispersed, ICONS creates a compelling space for comparison, reflection, and discovery. Visitors are invited to move beyond passive viewing into a more engaged encounter—tracing artistic influence, identifying stylistic shifts, and uncovering unexpected connections between artists who never shared the same physical space, yet remain deeply interconnected across time.
Designed and curated for both seasoned art enthusiasts and first-time visitors, ICONS offers an experience that is at once educational, immersive, and accessible—removing many of the traditional barriers associated with global museum-going.
Exhibition Details:
Dates: April 24 – May 3
Time: 10:00 AM – 5:00 PM (Monday – Sunday)
Venue: Sky Gallery Colombo 5
Features
Our Teardrop
BOOK REVIEW
Ranoukh Wijesinha (2026)
Published by Jam Fruit Tree Publications.
82 pages. Softcover. ISBN 978-624-6633-81-3
The author is a graduate teacher at St. Thomas’ College, Mount Lavinia; his alma mater. On leaving school he read for a Bachelor of Arts Degree in English Language and English Literature at the University of Nottingham (Malaysia). On graduating, in 2024, he went back to his old school to teach these same disciplines. There seems to be a historic logic to this as his grandfather, a notable Thomian of his day, also started his working career as a teacher at the College before moving on to the world of publishing; as a newspaper journalist and sub-editor.
On his maternal side, Wijesinha’s grandfather was an accomplished journalist, thespian and playwright of his day, and his mother is also a much sought after teacher of English and English Literature and, as acknowledged by him, his first, and foremost, English teacher.
Though there are some well-written, almost lyrical, pieces of prose in this publication, it is the poetry that dominates. Written with a sensitivity to people and events he has either observed himself, or as described to him by those who did, it also encompasses all genres of poetic verse, from the classical to the modern, including sonnets, acrostics, haiku to free and blank verse, the latter more in vogue today. All in all, it presents as a celebration of English poetry and its ability to, sometimes, express depth of thought and feeling far better than prose.
Dedicated to his mentor at St. Thomas’, his Drama and Singing Master had been a great influence on Wijesinha His sudden, premature, death understandably came as a shock to the still developing student under his tutelage. The poems “The Man who Made Me” and “The Curtain Called” best demonstrate this. In addition, it is apparent that Wijesinha has endured much mental trauma in his young life. Spending much time on his own, the questions these moments have raised are expressed in “When No One is Listening”, “There was a Time”, “Midnight Walks” and the prose “A Ramble through Colombo”.
However, the majority of the poems concern ‘Our Teardrop’, Sri Lanka, for whom the writer has a great love. He explores its history, its natural wonders, its people, its tragedies, its corruption and the hope that things will get better for all its people. “Bala’ and “Dicky” address a time of violence from days gone by when there were few glories, just victims. “Easter Sunday” brings this almost to the present time.
There also is humour. “Ado, Machang, Bro, Dude” celebrates his friends and friendships in a way that will reverberate with all the present and previous generations of those who are, or were once, in their late teens and early twenties.
There is little to criticise in this first of the writer’s forays into published works except, as referred to previously, to re-state that the prose quails in the face of the power of the poetry. It is all well written, filled with passion and compassion, and gives comfort that there still are young Sri Lankan writers who can be this brave, and write so powerfully, and profoundly, in English. It is hoped that this is just the first of many from the pen of this young writer.
L S M Pillai
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