(David Nova) Valerian is a highly evocative film that lends itself to two very
different interpretations, one cynically political, and the other
Related Did Star Trek Feature the Solar (Ascension) Flash into Their Intros? — Soft Disclosure?
Source – Deus Nexus
by David Nova, July 26th, 2017
Valerian and the City of a Thousand Planets is not your typical Hollywood film. Created by Luc Besson, the visionary director of The Fifth Element (1997) and Lucy (2014), Valerian was crowd-sourced, and thus has the distinction of being the most expensive independent film ever made.
Being personally tired of recycled Hollywood blockbusters (with dark undertones), I am always delighted to see something that dares to be fresh, positive, and unconventional, as the trailer for Valerian certainly suggests.
Part Star Wars, part Avatar, part Fifth Element, Valerian still manages to create a unique and stunningly beautiful universe with a few original elements (like the shopping mall that exists in another dimension.)
While I do detect a subversive, political interpretation, and a few darker elements, overall there is a deeply spiritual interpretation that I strongly resonated with. I cover all of the different interpretations below.
Some background from Wikipedia.org
Valerian and the City of a Thousand Planets was written and directed by Luc Besson and co-produced by Besson and Virginie Besson-Silla. The film is based on the French science fiction comics series Valérian and Laureline, written by Pierre Christin and illustrated by Jean-Claude Mézières. Besson independently crowd-sourced and personally funded Valerian and, with a production budget of over $209 million, it is the most expensive independent film ever made.
Upon release, Valerian received mixed reviews from critics, who criticized the writing, acting and plot but praised the visuals, and has grossed $23 million worldwide.
Although Luc Besson loved the Valerian comics growing up, he did not seriously consider adapting them into a movie until he was working on The Fifth Element. During that project, Besson had tapped the Valerian illustrator Jean-Claude Mézières to work on the film.
In North America, Valerian was initially projected to gross $20–25 million from 3,553 theaters, although some insiders believed it would open in the teens. It ended up debuting to $17 million, finishing 5th at the box office, leading Deadline.com to already label it a domestic box office bomb.
One possibility for the poor reviews may be the largely unknown lead actors, who exhibit questionable on-screen chemistry. However, I feel there’s still enough in this film to merit some critical praise, compared to some recent summer flops. Perhaps Valerian is being targeted because it was produced independent of the Hollywood system.
Under the hood, there is a much more to digest in Valerian than is visible to the average film goer, and of course, that is the only reason I’m choosing to write about it.
The Source Material
Valérian and Laureline (first published in 1967) is considered a landmark in European comics and pop culture, Traces of its storylines and designs can be found in Star Wars and The Fifth Element. Christin’s scripts are noted for their humanist and left-wing liberal political ideas while Mézières’ art is characterized by its vivid depictions of the alien worlds.
The core theme of the stories is an optimistic liberal humanism: the adventures are not about defeating enemies but about exploring, facing challenges, and celebrating diversity. Other themes include:
- Natural simplicity as superior to technological complexity.
- Rejection of machismo, violence and war in favour of femininity and nature.
- Distrust of power and the suppression of individuality.
- The ability of women to manipulate males sexually without being manipulated themselves.
Valerian as European Immigration Propaganda
I left the theater feeling positive about the experience, however I was perhaps alone in my assessment, as my comrades were less enthusiastic, and the theater was half empty (for opening weekend no less.) Despite the stunning trailers, critics managed to keep film-goers away from this unknown, independent, non-franchise summer release. The public flocked to Dunkirk instead.
I would basically summarize the experience as the sequel to Avatar that we never got (or have yet to get). The same premise. What would happen after the beautiful, idyllic world of Pandora was destroyed by human warmongering, and its peaceful, nature-loving CGI inhabitants were forced to become interstellar refugees, perhaps even forming underground terrorist cells.
Considering the liberal humanism at the core of the original comic books, a cynical, political interpretation of the film easily lends itself to a disheartening example of European immigration propaganda. – The evil western world (ie: the United States and NATO) have destroyed a relatively primitive yet peaceful society, say Syria, and the result is a massive wave of immigrants and refugees hitting the European Union. Thus this displaced population is completely blameless in their occasionally violent attempts to integrate into decadent western society. Acts of terrorism are justified. Cultural forgiveness should be immediate and mandatory, reparations made, and state agents are instructed to turn a blind eye to lawlessness. Such is the situation happening in Europe under liberal progressive identity politics with wide open borders. All of this pretty much happens within the plot of Valerian from a skewed vantage point. The closing message of forgiveness is turned on its head and used to justify Europe’s passive acceptance of a disastrous cultural policy.
However, this was not the message that I initially took away from the film. This interpretation only fell into place as I began to research and write this analysis.
It is not the purpose of the article to debate western war crimes against third world, non-western cultures. This site encourages readers to look beyond the political headlines and examine historical trends of global manipulation by the occult elite using the formula: Problem-Reaction-Solution.
Rihanna Plays a ‘Freed’ Monarch Slave
Luc Besson is the same director who gave us the film Lucy, which has been analyzed as luciferian propaganda.
“In Luciferian circles, Lucifer is perceived as a “savior” who gave humans the knowledge necessary to ascend to divinity. In the movie, Lucy is a human version of Lucifer, as her increased brain capacity allows her to gain the knowledge required to become a god.” (The Vigilant Citizen)
Unlike Lucy, which had a trail of violence and darkness throughout the film, Valerian feels squeaky clean, perhaps even a little corny by today’s standards. There is however, one glaring example of illuminati influence that feels completely out-of-place – that being the absurdly extended cameo by the singer Rihanna.
Publicity art for the film make heavy use of the by now archetypal “V” symbolism, which I have already discussed in my film analysis of “The Giver.”
Rihanna plays a shape-shifting alien who performs an out-of-this-world burlesque act in one of the seedy districts of Alpha.
She proceeds to change identities faster than Madonna and Brittany Spears combined. However, the last identity of her performance is the most telling. She transforms into a classic image of Marilyn Monroe. This often signals Beta programming of a monarch mind control slave. Thus the shape-shifting is analogous to the various personalities within a programmed multiple.
“Presidential models” were/are allegedly used by big time entertainers and politicians as playthings; mind controlled puppets programmed to perform assorted acts at the bidding of their manipulative “handlers”. Supposedly Marilyn Monroe was the first Monarch slave who achieved “celebrity” status. (Source)
Rihanna’s own music videos have been the subject of internet speculation, another artist/slave controlled by the occult elite.
Agent Valerian frees ‘Bubble’ (the alien shape-shifter played by Rihanna) from her captivity as a “sexual fantasy” slave so that she can help him with his mission to save Laureline. The extended scene is a departure from the rest of the film, and features a rather emotional revelation for those in the know – a monarch slave being freed from captivity (only to serve in another capacity as a secret agent).
Watching these emotive scenes play out, I couldn’t help feeling there was some kind of covert disclosure being presented, and actually wondering if Rihanna was conscious of the disclosure she was making in this film, as a kind of monarch mind control whistleblower. Her entire presence in the film seems directed for this specific purpose. But then if she ends up dead like her character in the film, this may well be just another cinematic occult ritual.
As Deus Nexus is primarily a spiritual blog, with a refocused mission upon spiritual principles and The Law of One, I entered this film with a very different mindset from the analysis above. Because I have learned how to interpret contradictory messages from synchronistic events, I am able to hold two entirely different interpretations at the same time.
To give you an idea of what I am talking about, imagine you are in a room with friends and an amazing example of synchronicity is played out in the moment. Your sleeping friends, who are ignorant of sychronicity, have no idea they are acting in a spontaneous play. You are the only audience member who is aware of the significance of the synchronicity. So you have to keep a straight face to witness the amazing synchronicity, and yet still pretend to go along with what your friends perceive as the normal course of events. You have to learn to hold two different interpretations of events.
I have experienced this situation many times in the past, and Valerian was of a similar experience. I do not claim this interpretation is anyone’s but my own. Only the director, Luc Besson, can tell you his intent.
The planet Mül was already quite familiar to me. The panorama of this stunningly beautiful cosmic beach was very close to my own personal visualization/interpretation of what a 4th Density (or higher) world might look like. I have described it in one of my books. So it was already quite a personal and moving experience.
The inhabitants of Mül are actually a very accurate portrayal of a 4th Density world, as described by Ra in The Law of One books. They are a heart Chakra-centered people, psychic, possibly telepathic, or at least empathic. They live in harmony with the natural world around them. They give back to the planet as custodians instead of acting as parasites. Their only source of nourishment or food is the energy they draw from the environment around them. They have no need to kill what they eat. They live in a spiritually focused, unified community based upon the laws of compassion and forgiveness. They are perhaps an evolving example of what Ra terms a “social memory complex.”
45.11 Ra: The basic purpose of a social memory complex is that of evolution. Beyond a certain point the evolution of spirit is quite dependent upon the understanding of self and other-self as Creator. This constitutes the basis for social complexes. When brought to maturity, they become social memory complexes. The fourth density and sixth density find these quite necessary.
In light of this ethereal existence, I already felt as the if the people of Mül lived in an alternate dimension or density. However, a subsequence scene in the film, when Valerian and Lauraline infiltrate the multidimensional shopping mall, reinforces the idea of these people living in different dimensions or densities.
Film audiences experienced a similar vision of a 4th Density culture in James Cameron’s Avatar, and many fans were deeply moved by this profound experience.
“When I woke up this morning after watching Avatar for the first time yesterday, the world seemed… gray. It was like my whole life, everything I’ve done and worked for, lost its meaning,” Hill wrote on the forum. “It just seems so… meaningless. I still don’t really see any reason to keep… doing things at all. I live in a dying world.” — Audiences Experience ‘Avatar’ Blues
Jake Sully’s ordinary worlds of Earth and now the spaceship, represent 3D reality; linear time-space. The land of Pandora and its native Na’Vi beings represent a higher dimension… Exactly which dimension Pandora represents is sticky and fairly irrelevant, though I do find it interesting that it seems to correlate to the dimensions that several Ascensionists map to Pleiadian entities, which are thought to have a special relationship with humans as benevolent extraterrestrials guides at this time, and are commonly experienced as blue light beings. (Source)
Another connection or interpretation is that the natives of Mül, much like the natives of Avatar’s Pandora, are a stand in for an ancient Pleiadian race, whose peaceful, sublime existence was irrevocably altered by aggressive Orion crusaders, a familiar theme that seems to be repeated throughout galactic history, on Earth with ancient Lemuria, and again with native Americans. A disastrous clash between passive and aggressive civilizations can cause a dramatic lowering of vibration, yet become the catalyst for a necessary integration of duality, a kind of shotgun sacred marriage.
Over the years, I have found several channeled sources that have described a remarkably similar galactic history. The following is a brief summery of Pleiadian history and the Orion Wars, which mirrors the plotline of Valerian.
The group which made their home in the Pleiades devoted themselves to benevolent relationships, meditation and spiritual upliftment, with complete avoidance of negativity, contrary to the Earth group. As a result of thousands of years of Pleiadian evolution along these more harmonious lines of development, they became thousands of years ahead of Earth both technologically and spiritually.
Nevertheless, the Pleiadians in their determination to avoid conflict had withdrawn as a civilization and were not aware of what was going on in the galaxy. They developed advanced technology but kept to themselves and began to lose touch with reality. For example, wars were still waging on planet Earth.
During this time a race from the Orion empire had grown in power and were conquering planets in the neighborhood galaxy. A galactic war ensued which was essentially the Orions against everyone else. This ‘everyone else’ eventually formed the first confederation. The Pleiadians, however, were unaware all this was going on. When they realized it they were compelled to intervene. In fact the violence of the Orions represented a reflection of the Pleiadians’ inner suppression. They turned on the Orions vigorously and the Orions retaliated. In fact they destroyed one of the Pleiadians beautiful planets of life. To this day it is still a burned-out lifeless planet. The Pleiadians eventually became enlightened as to the role the Orions played in their own inner turmoil. Some even reincarnated into the Orion group. (Source)
Like the Pleiadians and the Na’Vi of Avatar, the inhabitant of Mül must have suppressed their inner darkness and aggression; they became isolated and ignorant of a Universe in conflict. Because everything and everyone in the Universe is an expression of the One Infinite Creator, we cannot remain safely isolated in our separation consciousness. When a civilization falls in vibration, to victim consciousness and duality, it must find its way back. When we face the challenge of embracing and integrating our inner duality, we become the cure that the greater Universe needs to embrace peaceful coexistence.
While the people of Mül seem to embrace this lesson with humility and forgiveness, it is unclear if they ascend, as they sail off in their holographic-environment ship. However, the character growth in Valerian and Laureline’s relationship suggests an integration has been achieved between the sacred masculine and the sacred feminine duality, as Valarian’s external sense of satisfaction and service reconciles with Laureline’s internal sense of satisfaction and service (a relationship that was perhaps better expressed in the recent Wonder Woman film).
Valerian is neither perfect nor completely original. However it is a beautiful film, both in vision and in spiritual message, which is a rare thing among the dark and gritty, increasingly nihilistic summer blockbusters. While cynical political interpretations are evidently present, for those who have eyes to see there is also a profound experience to be found within this film. I suspect the perfect audience for this film are young starseed and indigo children, who hold a vision of a higher density world waiting to be manifested and embraced.
About the Author
David Nova is the author of the metaphysical fiction series “Season of the Serpent.” He is a truth-seeker, a Wanderer, a blogger, and the moderator of Deus Nexus: Messages For An Entangled Universe. For additional information about the author or his novels, visit his website, or his Facebook page.
found on Operation Disclosure
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