Star Wars: Visions has returned for a second volume, giving creative license for animation studios the world over to make their mark and establish what their take on a story set within the Star Wars galaxy would look like. Watching Star Wars: Visions Volume 2 is an exercise in demonstrating how fantastic artists, paired with rich source material, can create gorgeous memorable stories told over a matter of minutes. The nine tales are all superb – but which is our favorite? Read on to find out…
Related: New Horizons For ‘Star Wars’ as ‘Visions: Volume 2’ Takes the Galaxy to New Places
What Is Star Wars: Visions: Volume 2?
Star Wars: Visions: Volume 2 is the second instalment in the animated anthology series, which sees Lucasfilm collaborate with animation studios from around the world to present their unique take on Star Wars. The first season, released in 2021, was a critical success, providing an opportunity for everything from umbrella lightsaber blades to desert rock bands to be shown on screen (hi, Tatooine Rhapsody). This second season, released on May 4th, Star Wars Day, expands the scope of the anthology even further — studios including Spain’s El Guiri to France’s Studio La Chachette have contributed to the mythos.
One thing to note: these tales are not canon, which gives the studios in question a much broader scope to interpret the classic Star Wars myths and legends how they see fit. You won’t see Obi-Wan Kenobi, Boba Fett, or even the Clone Wars rendered here. As you might anticipate, Jedi and Sith feature heavily — but not exclusively. There are stories here which center on miners, refugees and more, but you’ll recognize themes established by George Lucas in his original movies, delivered in exciting new ways. There are nine new tales total, with episode lengths running at their longest, 18 minutes.
Ranking Star Wars: Visions: Volume 2
Let’s be clear: there’s no duds in this pack. But if we’re having to rank them from our least to most favorite, here’s how we’d do it…
Journey To The Dark Head – Studio Mir, South Korea, directed by Hyeung Geun Park
Set against the backdrop of an ancient war between the Jedi and the Sith, this story sees a young Jedi and a pilot team up on a mission to the pilot’s old homeworld. The pilot, Ara (Ashley Park), believes that beheading one of two towering statues — believed to represent the Jedi and the Sith — will turn the tide of the war in the side of the light. But things are rarely so cut and dry, and the story’s climactic final duel sees major revelations for everyone involved.
It’s gorgeously animated and has the most sense of sweeping scale to the battle against good and evil, and the lines people draw to try and make sense out of chaos. I’m still thinking of the rain hitting the stones, which young Ara is forced to try and decipher prophecy from.
The Bandits of Golak – 88 Pictures, India, directed by Ishan Shukla
Rendered in sumptuous 3D animation, The Bandits of Golak follows two siblings making their way across a desert world in the shadow of the Empire. Force-sensitive Rani (Rona Kaushal) is prone to revealing her powers in acts of mischief. Brother Charuk (Suraj Sharma) will do whatever it takes to save her. On their trail is a blue-skinned Inquisitor and his henchmen.
Richly colored, this tale is perhaps the most conventionally told of the set, but is no less impressive for its depiction of a Star Wars world heavily inflected by India’s vibrant culture. Things reach a rip-roaring climax at the safe haven the siblings believe they have reached, and there’s a stunning lightsaber duel.
In The Stars – Punkrobot, Chile, directed by Gabriel Osorio
The story of two sisters on a smog-covered planet, this lush stop-motion tale is rife with tragedy but ends ultimately on a message of hope. Things turn on a beautiful central premise: their people believe that in the afterlife, they become stars. But the Imperial factories prevent them seeing the sky, and in turn, that pollution stops their delicate glowing rock paintings from shining.
The dynamic of the sibling protectors is in action again in this one, and things are bleak throughout — but the fierce determination of the pair sees them stand a chance against the overwhelming odds presented to them, and the Imperial menace is given a wicked voice by veteran character actor Kate Dickie.
Aau’s Song – Triggerfish, South Africa, directed by Nadia Darries and Daniel Clarke
This one resonated with the High Republic to me: just like Avar Kriss uses the ‘song’ of the Force, Aau does much the same here, her voice lending resonance to the red kyber crystals which litter her home planet. Aau and her father mine the poisoned kyber for the Jedi, which they can restore through the Force.
Another stop-motion marvel, this one features little to no conflict. Instead, it’s a story of self-discovery and parental acceptance. There’s a depiction of a Jedi, Kratu, in this one that ticks all of my boxes in terms of how they may appear to a people who has never ventured to the stars; a mystical, peaceful presence, made all the more soothing by the voicework from Cynthia Erivo. Plus, the bearlike depiction of Aau (Mpilo Jantjie) and her father makes everything impossibly cute.
Sith – El Guiri, Spain, directed by Rodrigo Blaas
This story is rendered in a sort of hand-painted CG blend, which is truly stunning to look at. It also makes total sense within the story: painter Lola (Úrsula Corberó) struggles to finish a mural, living in isolation in a desolate world. The conflict within her manifests in her work, as the shadows of her past as a Sith Apprentice creep into her art.
She is forced to confront her troubled history when her old master comes calling, resulting in a stunningly rendered duel between the pair as the battle between dark and light splashes and swoops across the scene in broad strokes. Lola’s integrity and eventual self-realization make for compelling watching as she reconciles herself with her truth.
The Pit – D’Art Shtajio x Lucasfilm Ltd, Japan/ USA, directed by LeAndre Thomas, Justin Ridge
This is perhaps the darkest of all the stories in Volume 2, depicting slave labor at the hands of the Empire, who are desperate to dig up precious kyber. Forced to dig an impossibly deep pit (hence the title), this story of resilience and hope comes at a heavy price. Daveed Diggs lends his vocal talents to a particularly optimistic member of the group who, after exhausting their kyber trove, are abandoned to die in the bottom of the pit by their Imperial overlords.
Diggs’ fearless Crux decides to try and scale his way to an exit and freedom for his people. It’s delicately rendered and the harrowing scenes are infused with life — the crowds bristle with emotion and while it’s a larger cast, showing the plight of a people rather than any individuals too strongly, taking things on this bigger scale makes for a particularly rousing finale. This short has a lot on its mind, particularly regarding community and the power of being united.
Screecher’s Reach – Cartoon Saloon, Ireland, directed by Paul Young
A haunting tale inspired by Irish folklore, Screecher’s Reach sees a group of youngsters make a trip away from the foundry they are made to labor in to track down the source of a ghost story. Lead character Daal (Eva Whittaker) appears haunted, determined to track down a terrifying presence in a remote cave. Her companions are lovingly rendered, fellow teens. And a surprising twist at the tale’s finish is given extra enigmatic menace via an ominous voice turn from none other than Anjelica Huston.
The Pit is undoubtedly Volume 2’s darkest entry, but Screecher’s Reach is it’s most haunting, leaving you much to think about long after the conclusion. That’s all without acknowledging Cartoon Saloon’s signature visual style, instantly recognizable animated flair, given a handcrafted, painterly touch.
I Am Your Mother – Aardman, UK, directed by Magdalena Osinska
I Am Your Mother is Aardman’s contribution to Volume 2, led by Magdalena Osinska. Aardman’s claymation style means this is naturally the softest of the nine stories, a heartwarming, comedy-led story of a mother and daughter entering a speeder race. It is the only story to feature a character from the original movies, Wedge Antilles, voiced by original actor Dennis Lawson. But Aardman’s trick is combining laugh out loud moments with a core of real emotion.
Osinska said her relationship with her own mother heavily influenced that which is shown here. There’s little presence of the Empire, or any of the heavier war-themes the other contributions depict. Instead, this one centers around that familial relationship and is all the better for it, showing that Star Wars can do smaller family stories just as well as intergalactic conflict.
The Spy Dancer – La Cachette Studios, France, directed by Julien Chheng
Inspired by tales of the French Resistance, The Spy Dancer is a beautifully animated tale of a dance hall, the Empire, and espionage. Loi’e (Camille Cottin) takes center stage at a huge music venue, where she entrances Imperials with her aerial gymnastics as she twists and turns on suspended silks. She uses her hypnotic movements to place trackers and share information back to an underground resistance network of rebels. Motivated by horrors in her past, the arrival of a could-be figure from a haunting memory to her show throws Loi’e’s scheme askew as emotion begins to get in the way.
In it’s short runtime, The Spy Dancer does a fantastic job of making an evocative setting and an unconventional hero out of it’s theatrical protagonist and her friends. There’s thrills in the way Loi’e navigates her world and stunning beauty in her movement, but it’s the combination of delicious visuals and gripping spy story which make The Spy Dancer the most unmissable of this volume of Visions.
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Watching Star Wars: Visions: Volume 2
All nine stories from Star Wars: Visions: Volume 2 can be watched now on Disney+.
What was your favorite from the anthology? Tell us in the comments below.