The plot kicks off with a prologue set thirty years earlier on the planet Mul. We witness a serene, technologically advanced species called the Pearls—translucent, humanoid creatures who live in harmony with a giant, energy-producing creature called the Converter. Suddenly, a catastrophic battle erupts overhead in space, raining debris down on Mul. The Pearls’ homeworld is destroyed, and their Converter is lost. The attacker? Unknowingly, human forces fighting an enemy warship.
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This character failure is compounded by a plot that is distractingly derivative. The central conflict involves the genocide of a peaceful, ethereal race (the Pearls) by a greedy human commander, forcing Valerian to choose between military orders and morality. While earnest, this is a recycled trope from Avatar , Dances with Wolves , and countless other colonial guilt narratives. The film tries to juggle this heavy subject matter with goofy comedic interludes (Rihanna’s memorable but pointless shape-shifting burlesque routine) and bureaucratic satire. The tonal whiplash is severe. One moment, the film is meditating on ecological destruction; the next, it features a comedy relief character who can only say his own name like a sci-fi Pikachu. Besson, the director of the tightly-plotted The Fifth Element , seems to have forgotten how to balance tone. The plot kicks off with a prologue set
The film's influence extends beyond the sci-fi genre, with its visuals and world-building inspiring artists, architects, and designers. The film's depiction of a diverse, inclusive, and vibrant future has also resonated with audiences, offering a vision of a better tomorrow. The Pearls’ homeworld is destroyed, and their Converter
(2017), ranging from a quick recommendation to a detailed review style: