Both these defining elements are central to the fierce battle that Sully, his wife Neytiri (Zoe Saldana) and their children wage. They range from the sanctity of family bonds to the innate tenacity of those that live in spiritual communion with the natural world around them. Moreover, the fantastical yarn that it spins serves as a connector of a whole gamut and ideas and themes. It does have a riveting beginning and a rousing end with a sturdy middle holding the two perfectly structured ends together. The film certainly isn’t like water – free-flowing and whimsical. The ‘way of water’ has no beginning and no end… water connects everything… death to life, darkness to light, says one of the reef people among whom Jake Sully (Sam Worthington) takes refuge with the intention of protecting his family from harm when an old, ruthless foe returns to torment the Na’vi all over again in a new body with an old mind that retains the memories of a defeat.

It not only goes beyond it also soars higher and dives deeper. Such is the sepulchral power of the storytelling that Avatar: The Way of Water, written by Cameron, Rick Jaffa and Amanda Silver, does not for a moment feel like it is peddling more of what the super-successful Avatar had done in 2009. The movie’s length might at first seem a tad daunting, but once you have plunged into the fascinatingly detailed extrasolar world where the action unfolds there is zero risk of boredom or monotony setting in.

James Cameron returns to the wondrous world of Pandora after 13 long years and the gargantuan box that he unpacks throws up an array of delights rigged to hold spectacle-loving audiences in thrall for every nanosecond of the immersive, explosive and beautiful-to-behold 192-minute ride.

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